Gregor Quack

  • Seth Price

    WHEN THE STEDELIJK MUSEUM in Amsterdam and the Museum Brandhorst in Munich decided to jointly organize “the first comprehensive retrospective of the work of Seth Price,” they brought up fundamental questions about the art world’s favorite form of hagiography. If retrospective exhibitions are, by definition, exercises in containment and summary, how can they deal with an artist as notoriously slippery as Price, who first received significant attention for a PDF calling for art’s “dispersion” beyond and outside the institutions of the art world? If Price used that early document to advocate for

  • Samson Young

    OVER THE COURSE of Samson Young’s first solo exhibition in Europe, the world outside seemed to catch up. A somber realism pervaded the show, which was curated by Jasmina Merz and on view at Kunsthalle Düsseldorf this past winter, and it was only as its eleven-week run unfolded that its uncanny relevance to current events became clear. Spanning the full range of Young’s practice, the presentation included video work, suites of tenderly serious notation drawings, and a recorded sound piece broadcast in coordination with the ringing of the bells of a nearby church. Yet, in keeping with the artist’s