Johanna Burton

  • Olafur Eliasson

    A viewer rushing to Olafur Eliasson’s latest exhibition expecting a quiet epiphany or a spontaneous unveiling of the mechanisms of perception—an “Aha!” moment, as the artist says—would have been disappointed, at least initially. Eliasson had turned the gallery’s main space into a cluttered workshop in which cobbled-together shelves and ad hoc vitrines lined the walls and spilled into the center—not a stark, subtle “intervention” by any means. Titled Modelroom, 2003, the work was true to its name, functioning primarily as an invitation into the artist’s preparatory processes, which, we learned,

  • “In Full View.” Installation view.
    picks August 11, 2003

    “In Full View”

    Andrea Rosen’s summer show, “In Full View,” brings to mind Roland Barthes’s description of erotic pleasure: “It is the flash itself which seduces, or rather: the staging of an appearance-as-disappearance.” Some eighteen artists contribute works that flicker in and out of sight, leaving scads of pleasure in their wake. Gems like Fred Sandback’s monumental (but barely there) yarn sculpture and Sol LeWitt’s sprawling, whispery wall drawing remind us just how complex the substance of Conceptual Minimalism can be. Ricci Albenda contributes a pair of wee “portals to another dimension”—one convex, the