New York

Dennis Oppenheim

Sander Gallery

This exhibition consisted of recent proposals by Dennis Oppenheim for site-specific public sculpture, but most of the works—drawings and models—make sense on their own. If there is any unifying principle to the pieces, it is the idea of the dream role of machinery in our lives. A piece like Extended Fortune, 1983, with its aluminum hands from which strips of Mylar extend, blown by an electric-fan-generated wind, makes the point succinctly. Oppenheim is the major figure working within what might be called “the fine art/technology continuum.”

At the same time—and I think this is also part of the “dream” of technology—Oppenheim’s pieces are a brilliantly witty series of recapitulations of Modern art ideas, ranging from painting (Cézanne, Van Gogh, and Mondrian) to sculpture (Tatlin). Oppenheim not only asserts the inner relationship between early Modern art and early technology—the ironical

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