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OPENINGS: YVE LARIS COHEN

Yve Laris Cohen, D.S. (detail), 2014, wall alteration, 62 x 72 x 9". From the 2014 Whitney Biennial.

UPTOWN

YOU COULD ALMOST MISS IT: A seam in the wall near the stairwell on the third floor of the Whitney Museum of American Art in New York—five feet up, six feet over, and five feet down again. And maybe it’s meant to be missed, this rectilinear fissure that separates the secular museum walls from the sacred slab of drywall that serves variously as artwork, prop, and envoy for Yve Laris Cohen’s D.S., 2014, the artist’s contribution to the 2014 Whitney Biennial.

Laris Cohen likes to play with what you don’t notice, the alien supports and protocols that shape and secure how we make and show art. For this reason, some people fix him within the legacy of institutional critique, compare him to Michael Asher or Robert Morris or other pious art dudes, and indeed he has a certain post-Minimal/Conceptual stoicism. In my experience, though, he spends more time talking about mentors like

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