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THE SNOWBALL EFFECT

David Hammons, Bliz-aard Ball Sale, 1983. Performance view, Cooper Square, New York, 1983. Photo: Dawoud Bey.

David Hammons: Bliz-aard Ball Sale, by Elena Filipovic. London: Afterall Books, 2017. 160 pages.

IN 1983, David Hammons held his Bliz-aard Ball Sale, which “probably didn’t bear that title, or any title at all,” as Elena Filipovic discloses in her amazing exposition on the artist’s chill maneuvers. Meanwhile, six months or so later, at a coven sponsored by the National Endowment for the Arts, Rosalind Krauss informed the assembled that she—and here Filipovic quotes Adrian Piper’s writing on Krauss’s decree—“doubts there is any unrecognized African-American art of quality because if it didn’t bring itself to her attention it probably didn’t exist.”

Let that cold open thaw for a minute.

Filipovic uses this anecdote to spell out Hammons’s methods, his modes and haunts. Krauss, she writes, “clearly wasn’t looking among the street sellers on the south-east corner of Cooper Square

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