New York

Agnes Denes, Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan—with New York Financial Center, 1982, documentary photograph.

Agnes Denes, Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan—with New York Financial Center, 1982, documentary photograph.

New York

“Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s”

SculptureCenter
44-19 Purves Street
May 4–July 28, 2008

Curated by Catherine Morris

Alongside the jetty is the tunnel—not spiraling spectacle but subterranean breach. Both forms were equally important for Land art, yet the latter seems especially to have resonated with women artists, structuring works such as Alice Aycock's Simple Network of Underground Wells and Tunnels, 1975, and Nancy Holt's Sun Tunnels, 1973–76. This exhibition surveys the projects of Aycock, Holt, and eight other artists, providing a much-needed excavation of works that gesture less toward the sublime than the surreal: Agnes Denes's Wheatfield—A Confrontation, 1982, and Mary Miss's screens and veils from the '70s invoke ecological and mathematical systems as well as narrative and allegorical ones. Catherine Morris assembles eleven sculptures (many not shown since the '70s), alongside models, drawings, and documentation of site-specific projects, aiming to deepen rather than restrict this terrain.