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Artangel’s twentieth anniversary

Šejla Kamerić and Anri Sala, 1395 Days Without Red, 2011, color HD video, 60 minutes. Production still. Photo: Milomir Kovačević Strašni

IF YOU’VE PAID ATTENTION to contemporary art in Britain since the early 1990s, the chances are good that Artangel—the exemplary, catalytic, London-based arts trust currently marking its twentieth anniversary—has gifted you with some indelible memories. Numerous spikes in the graph of my own spectatorship correspond to site-specific projects that codirectors James Lingwood and Michael Morris have commissioned, financed, and helped conceptualize. 1993: Rachel Whiteread’s House, a spectral plaster cast of the interior of an East London house, last survivor of a demolished terrace and awaiting its own kiss from the wrecking ball. 1995: a titanic volley of arrows, suspended in the air, in H.G., Robert Wilson and Hans Peter Kuhn’s suite of bad-dream tableaux in a former medieval prison near London Bridge. 2001: Break Down, wherein Michael Landy systematically destroyed all

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