Critics’ Picks

Installation view.

New York

Anton Vidokle

Massimo Audiello
526 West 26th Street, Suite 519
January 31–March 13

Anton Vidokle reanimates the architecture and graphic design of the late-modernist moment, when space-age utopianism was inflected by a swinging, trippy, more frankly delusional sensibility. The two large sculptures that take up most of the space here look something like Vasarely posters in three dimensions. Each consists of eight panes of glass emblazoned with large vinyl logotypes—a narrow rhomboid in one sculpture and a set of nested diamonds in the other. Seemingly hovering in space, these generic icons have a dizzying Op-art effect, but the corporate connotations are unmistakable: They’re trademarks for companies that don’t exist, free-floating signifiers of the aesthetic-industrial complex. Vidokle’s tabloid Popular Geometry, 2003–4, available in plastic dispensers, is also preoccupied with the collusion between art and capital. A deadpan compendium of old newspaper articles, it chronicles the populace’s head-scratching reactions to state- and corporate-commissioned sculptures by Richard Serra, Tony Smith, and other practitioners of taciturn monumentality. But, as documentation of his own public projects in Mexico City, Tirana, and Southern California attests, Vidokle’s wryly skeptical vision is tempered by a certain crypto-modernist utopianism of its own.