Mitchell Kehe

Mitchell Kehe’s latest exhibition “The difference between building and growth,” held at 15 Orient and hosted by Weiss Falk, is an evocative phenomenological exploration of the self that conjures both anatomical and abstract bodily systems. The show examines both the somatic and the psychological, indicating forms of concealment beyond what meets the naked eye.

Upon entry, viewers are met by a custom-made light column illuminating the semitransparent fabric surface of Untitled 10, 2023, featuring Kehe’s signature cryptic, amoeboid motif. Nearby, a mauve canvas studded with mushroom-like felt

Marc Kokopelli, Of Seven, Fitter Happier, and Brigid’s Girdle, (detail) 2022, four polyethylene pedestals, seven photo albums, two girdles, Skullcandy headphones, Radiohead's OK Computer album. Dimensions variable.

picks November 29, 2022

Marc Kokopeli

Marc Kokopeli’s exhibition “Meeting people is easy”—the latest in his post–Pop art deployments—offers a boutique jouissance: Four slick polyethylene pedestals prop up seven orange leather-bound photo albums filled with AI-authored C-prints; a pair of custom-made replicas of Andy Warhol’s girdle; and Skullcandy headphones playing Radiohead’s full 1997 album, OK Computer.

Collected together in the central installation, Of Seven, Fitter Happier, and Brigid’s Girdle, 2022, these elements foreground a range of frustrations in contemporary serial production. Employing algorithms that convert text into