PRINT February 2000


The art of Martin Creed sits lightly in the world. Sometimes it’s barely there at all. Many of the carefully chosen individuals who were mailed Creed’s limitless multiple Work No. 88: a sheet of A4 paper crumpled into a ball, 1994, found that, in spite of its being a finely crumpled sphere accompanied by a certificate of authenticity, they had nonetheless binned it by mistake. Few nighttime drivers glancing up at the first floor of a corner building along one of London’s busiest thoroughfares would have recognized the sight of blinking lights, now on, now off in syncopated unison, as Creed’s Work No. 160: the lights going on and off, 1996, just as the irritated visitor who forced open the blocked door of the West London Javier López Gallery failed to realize he had just destroyed Work No. 115: a doorstop fixed to a floor to let a door open only 45 degrees, 1995.

So far, so minimal. This,

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