ENTERING MARTIN BECK’S EXHIBITION “rumors and murmurs,” curated by Matthias Michalka at the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, you were implicitly presented with two routes. Taking a swift right before the almost imperceptibly subtle fabric wall rumors and murmurs (Polygon), 2012/2017, and continuing into the smaller galleries behind the stairwell, one came upon what almost appeared to be a conventional midcareer retrospective. From there, one proceeded past An Organized System of Instructions, 2016, a videotaped lecture from Beck’s project at Harvard University’s Carpenter Center for the Visual Arts in Cambridge, Massachusetts; toward all that is left, 2015/2017, a freestanding wall painted with a graduated color “fade,” first exhibited at 47 Canal in New York; and on to About the Relative Size of Things in the Universe, 2007, a video installation revolving around
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