Bruce Nauman’s new piece calls to mind one of his early works, Fishing for Asian Carp, 1966. That two-minute-forty-four-second film documents a man putting on wading boots, entering a river, and eventually catching a fish. The structure was dictated by the process and goal of catching a fish: When the fish was caught the film was over. What we don't know is what would have happened had the fish not been caught. Part tongue-in-cheek instructional film, Fishing is also an allegory for the unpredictable nature of artmaking. As with Beckett’s Molloy, who transferred a stone from one pocket to another, sometimes it’s just a matter of waiting. And Nauman has been waiting for some time. Mapping the Studio (Fat Chance John Cage) is his first major installation in four years.

There are two versions. The first (on view at the Dia Center for the Arts in New York until July 27) is a straight recording

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