TABLE OF CONTENTS

OPENINGS: JOSH SMITH

IN FALL 2005, when Josh Smith was invited to fill a sliver of the basement gallery at New York’s SculptureCenter as part of that institution’s In Practice series, he responded by moving more or less the entire contents of his Harlem studio into the space. This installation strategy, Smith told me, was less a choice than a capitulation to sheer necessity—his studio was so crowded he could barely squeeze in one more tube of paint. The claim seems entirely believable, given the artist’s reputation for hyperproductivity; on the other hand, Smith may have been drily joking about that very reputation (people constantly tell him he makes too much work, he says). Whatever the case, the SculptureCenter installation—curiously titled Schmerzhoehle, which is German for “pain cave”—gave both artist and artwork a little breathing room and afforded perhaps the most complete overview to date of Smith’s

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