New York

Brenda Miller

Sperone Westwater Fischer

Brenda Miller’s recent show, consisting of six wall pieces, continued basic methods she has used for several years. Lengths of sisal ranging from 1 to 40 inches were knotted and nailed directly to the wall at 1-inch intervals determined by an 80-by-80-inch grid faintly drawn in blue pencil. All six works contained exactly 160 strands of each of the 40 lengths. The problem, then, is one of variation: possible arrangements of the same material on the same grid.

The strings were positioned according to strictly ordered systems recorded on graph paper. Numbers represented the various lengths. Individual rows would proceed in neat progressions from, say, 1 at the sides to 40 in the center, and so forth. From the diagrams it is impossible to visualize the twiney translations—shaggy cascades of string like weavings gone wild, some spilling onto the floor in a disarray that only vaguely hints of

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