new-york

Richard Mock

Louis K. Meisel Gallery

Some super-Realist galleries have been showing Concept artists and documentors in their back rooms and basements much as a department store moves slow-selling low profit items to the bargain basement. Richard Mock fills the basement at Meisel with large constructions of plastic sheets, and papers the walls with Xeroxed documents from two sculptural programs, World Piece (1973 and continuing) and On Board Q-E 2 (1974).

For World Piece, Mock entrusts his plastic assemblages to travelers who place and photograph them in various spots around the world—on a crowded street, draped over a nude woman’s shoulders, dropped on an antique Roman floor mosaic. Mock produced color Xerox editions of the photographs mounted two to a page. If the content of World Piece lies in how the works are placed, then Mock abdicates it to the travelers. His part lies solely in the set up, the system that illumines the

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