New York

Keith Sonnier

Leo Castelli Gallery

The hum of theology was present in Keith Sonnier’s work this spring. Two groups of sculptures were shown, the first describing a godforsaken West, the second a polytheism of the East—Hindu deities. In the gallery’s larger room stood several human-scale rectilinear constructions, of extruded aluminum finished in a mat black (and in one instance with an equally dense red). There was a tripod/anthropomorph joined to a portable radio wheezing static. There was a hard-knocks barricade of perpendiculars to which a standard pay phone was affixed. A tiny Sony color TV blinked autistically. Video and light, the medias most often associated with Sonnier, are here dwarfed by architectonics, sucked into futility by the overwhelming and negative optical symbology of black. The TV, radio, and telephone assume roles in a grim, absurdist drama: Vladimir and Estragon as receivers awaiting programming from

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