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Superflex

Superflex, The Campaign (detail), 1994, billboard, offset print on paper, vitrine with orange bag, dimensions variable. Photo: Anders Sune Berg.

“A GESTURE WISES YOU UP,” Brian O’Doherty notes in his famous critique Inside the White Cube (1976). “If it teaches, it is by irony and epigram, by cunning and shock.” Gestures in O’Doherty’s sense—as metaworks, détournements, game changers—seem central to the practice of the Danish collective Superflex, whose globe‑ trotting interventions were surveyed in a recent retrospective at Copenhagen’s Kunsthal Charlottenborg. Hovering at the limits of art, Superflex’s projects—referred to as “tools” by the group—oscillate between activism and a cunning, if not necessarily shocking, flippancy. In the former category, one could cite Supergas, 1996, which explored alternative fuels, or Copylight Factory, 2005, with its copyleft polemics; in the latter, one might point to, say, the exhibition tours for which visitors are urged to don cockroach costumes. But if Superflex

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