Liz Hirsch

  • Christopher Myers, What Does It Mean to Matter (Community Autopsy), 2019, fabric, 96 x 168".
    picks January 10, 2020

    Christopher Myers

    Christopher Myers’s exhibition at Fort Gansevoort’s new satellite space opens with an image of nine human silhouettes on a banner that spans almost the entirety of the gallery’s storefront window. Cut from umber, crimson, and ocher cloths, the figures are sewn onto the solid and patterned fabrics that make up the piece. They would be anonymous if not for the forensic specificity of yellow and red appliquéd shapes that mark primarily the actual locations of lethal gunshot wounds inflicted by police officers on particular black Americans. Titled What Does It Mean to Matter (Community Autopsy) (

  • David Lamelas, Untitled (Falling Wall), 1992–, drywall, wood, screws, acrylic paint, reclaimed lumber, 17' 5“ × 26' 8 1/2” × 8' 1/2". Photo: Josh White.

    David Lamelas

    Over the five decades of his peripatetic, sui generis art career, David Lamelas—who was born in Buenos Aires and now works in his hometown and in Nice, France—has probed the basic parameters via which artworks are defined and transmitted. His practice has spanned film, photography, sculpture, and drawing, anticipating now-ubiquitous styles of appropriation and institutional critique. Coinciding with his wide-ranging and long-overdue first US retrospective “A Life of Their Own” at California State University, Long Beach, “The Other Side” at Maccarone was decidedly lean and mean. Here