Chicago

Kris Martin, T.Y.F.F.S.H., 2011, hot-air balloon, basket, metal ring, fans. Installation view, Marc Foxx Gallery, Los Angeles. Photo: Robert Wedemeyer. From “S, M, L, XL.”

Kris Martin, T.Y.F.F.S.H., 2011, hot-air balloon, basket, metal ring, fans. Installation view, Marc Foxx Gallery, Los Angeles. Photo: Robert Wedemeyer. From “S, M, L, XL.”

Chicago

“S, M, L, XL”

Museum of Contemporary Art, Chicago (MCA Chicago)
220 East Chicago Avenue
May 9–October 4, 2015

Curated by Michael Darling

Taking its title from Rem Koolhaas’s 1995 manifesto, “S, M, L, XL” is an examination of sculpture and scale. Scale, the relative size of one thing to another, became a preoccupation of aesthetic theory with the publication, in these pages, of Robert Morris’s “Notes on Sculpture” in 1966. Fittingly, two of the four works in the show are by Morris: Portal, 1964, a post-and-lintel structure so narrow we can barely squeeze through it, and Passageway, 1961, an increasingly constricting curved corridor that funnels us to a dead end. And while Franz West’s Blue, 2006, adds a welcoming “relational” element (a seat) to Morris’s spiral, Kris Martin’s installation T.Y.F.F.S.H., 2011, an open balloon animated by fans, allows viewers to experience the immersive scale so emblematic of today’s “site-specific” sculpture.