New York

Al Hansen

Onnasch Gallery

 The gallery walls on the night of Al Hansen’s performance were hung with drawings, photographs, letters, newspaper clippings—the vagrant stuff of studio walls—and two series by other artists, Andy Warhol’s soup-can serigraphs and Eleanor Antin’s postcard series 100 Boots. The lights dimmed periodically, making it difficult to examine the work on the walls. 

A jagged line of tape on the floor divided the gallery, acting to confine the crowd in the area of the “show.” Beyond that line the gallery was dark. The crowd was slow to grow aware of the three assemblages there: a canvas on an easel near an array of paints; an old radio on a table flanked by framed photographs; and a large cardboard box with a hole cut in it and a plugged in electric saw. Near the box a note lay on the floor: “We are tired from waking hard and alone and have gone out for beers. Signed, Al.” 

A man asked the crowd to

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