PRINT December 2007

Lynne Cooke


1 Mark Wallinger State Britain brilliantly exploited the fact that the galleries of Tate Britain are bisected by the legal boundary beyond which protesters are barred from approaching the British Houses of Parliament. Re-creating in painstaking facsimile a highly charged anti–Iraq War display, Wallinger’s project echoed its prototype’s challenge to Britain’s role in a murderous enterprise, but also went further, questioning the tenability of the publicness of public (that is, state-funded) institutions. In Zone, his contribution to Skulptur Projekte Münster 07, Wallinger again tellingly addressed the role of boundaries, this time in relation to notions of exclusion and identity. Here, by drawing an almost invisible yet tangible circle around the inner city of this staunchly conservative Catholic town, he invoked self-imposed borders. The residue of ghettos demarcated by the pale

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