Curated by Helen Molesworth
Louise Lawler’s photographs—which document the discursive framing of art by showing the institutional and domestic sites of artworks—are influential and frequently reproduced, yet her work has never been subject to a museum retrospective in the United States. This exhibition addresses that oversight by filling half the Wexner’s gallery space with some sixty works, starting with a sound installation from 1972 and ending with five photographs taken of the Wexner itself during its 2005 “Part Object Part Sculpture” show, crisply illuminating the self-awareness of Lawler’s conceptual project. The full scope of her practice should be further revealed by lesser-known objects (paperweights, etched wineglasses) and a catalogue with essays by Molesworth, art historian Rosalyn Deutsche, and LA MOCA curator Ann Goldstein.
