Critics’ Picks

Installation view, 2006.

New York

“Grey Flags”

SculptureCenter
44-19 Purves Street
May 7–July 30

Seth Price’s “Grey Flags,” a short, free-associative, vaguely millennial text, has appeared in several places in the past year (last summer Friedrich Petzel mounted its own “Grey Flags” exhibition), but it’s been recycled here to positive effect by curators Paul Pfeiffer and Anthony Huberman. In keeping with Price’s genre-bending prose, the show isn’t confined merely to sculpture, and it unfolds in both space and time. Film works by Tacita Dean and Walid Raad flicker in the basement; Liam Gillick’s glitter-covered floor and Allan Ruppersberg’s funny, acerbic photo-and-Post-it installation Honey I Rearranged the Collection, 1971–99, are in the main gallery. In the gravel-lined courtyard, Mario Ybarra Jr.’s Go Tell It, 2005, a billboard-size photo of a man shouting through a megaphone on a Los Angeles rooftop, graces a cement wall. Additionally, “Blue Movies for Grey Flags” showcases short films, Jutta Koether will perform, and the catalogue is like a cross between a telephone book and an academic course reader, sampling already-published texts from a variety of sources. “I prefer questions to solutions,” Price states in his text. Similarly, “Grey Flags” the exhibition revels in a pluralism that privileges neither genre nor medium, nor, for that matter, any of the sensibilities or methodologies prevalent in the art world today.