New York

Robert Breer


Robert Breer looks like a real puzzler—though I don’t think he really is one, but simply a talented electronics designer. He starts out where so many minimal sculptors begin, with an elementary structure, but he then motorizes it. The locomotive bent in these works aids an otherwise straightforward neo-Platonic idealization of elementary form. The transformation of the objects into slow-moving “floats” becomes the gross message of the exhibition. In the largest work, several green pencil-sided columns, the movement is so slow as to suggest the constant final positions of the columns, rather than their aleatory displacements. The fact that the columns are capable of progress across the floor points to the Dadaistic inheritance in Breer’s work—ultimately their relationship is based on pure chance so that in some perfect, undreamed-of moment, they might even line up in single file.

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