In trying to navigate the complicated terrain of Rudolf Stingel’s criticality, one traverses institutional critique, stumbles over Minimalism, and unexpectedly crashes headfirst into Pop. In 1989 Stingel produced an instruction manual for creating an abstract painting, and then spent a decade making the same one—not a single work exactly but variations on the process set forth in his mini-manifesto. Stingel’s interest in developing an accessible art also informed a series of installations in which he covered the walls of museums and galleries with silver insulation board. Much to the artist’s surprise, these works provoked visitors to graffiti words and images on the shiny surfaces, and he responded by making subsequent versions even more glamorous, with wallpaper motifs layered over Mylar, their gold shades reminiscent of posh hotel rooms and gilded temples. Last summer, he rolled elegance

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