Miciah Hussey

  • Hiroshi Sugimoto

    Eschewing the taut focus he used to seemingly resuscitate waxworks in his series of uncanny historical portraits, Hiroshi Sugimoto trained a loosened lens on familiar architectural landmarks, from Le Corbusier’s Notre-Dame at Ronchamps to the MCA building itself, to offer a portentous glimpse of our surroundings, as the artist puts it, “after the end of the world.” This focused review of Sugimoto’s postapocalyptic sneak peeks was organized by Francesco Bonami, who contributed to the catalogue along with Marco de Michelis and John Yau. Maybe it’s true: The only things to survive the nuclear winter