“Ibid.” is the abbreviation of the Latin word ibidem, meaning “in the same place,” but this show of works by 17 artists, located in 10 cathedrallike, quite brutal garages belonging to a disused 19th-century brewery, was not in the same place as its predecessor, a show of the same name which was held a year ago in a likewise abandoned, almost preindustrial old building once used for the production of linseed oil. The choice of name, however, made clear the intertextual relationship not only between the works of art on display but between the two exhibitions. “Ibid.” pointed back to P.S. 1’s inaugural show, “Rooms,” in New York in 1976, whose function as paradigm could not be disregarded—particularly when one contributor to “Rooms” was included in each of the “Ibid.” shows, last year Richard Nonas, this year Susan Weil.

“Rooms” was marked, as Rosalind Krauss has pointed out, by an interest

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