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SOUND TRACKS: THE ART OF ALLORA AND CALZADILLA

AS SOMETHING LIKE THE SPRING BREAK OF THE ART WORLD, Art Basel Miami Beach is the kind of give-’em-all-you-got occasion where one expects to see more than just the occasional over-the-top flourish or media-friendly stunt. Perhaps it was this very context that made Jennifer Allora and Guillermo Calzadilla’s installation Clamor, 2006, shown during the fair last December at Miami’s Moore Space, seem such an uneasy spectacle: a hulking fiberglass structure—pale gray, topped by domelike convexities, and with a peculiarly terraced facade of jutting rectilinear slabs—embedded in a sculptural outcrop of what looked like splintered, striated rock. At first glance, this intimidating construction seemed steeped in abstract, Minimalist form; but viewers quickly realized that it was, in fact, a bunker. Or rather, many bunkers. The artists had combined design elements of military caissons from around

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