New York


New Museum of Contemporary Art

Some ideas defy representation in exhibited form. “Large” questions –the kind that comprise what we might term a cultural condition–are too diffuse, too densely reticulated, too “fundamental” to resolve themselves easily into images; the museum or gallery effort generally seems puny (at best) or illustrative (at worst). These problems beset “FAKE,” curated by William Olander, an exhibition designed to evoke the waning of the real in contemporary art practice.

Olander’s topic, bluntly stated, is the erosion of originality. His intention was to conjure up, through the work of 17 individual artists and 8 collaborative teams, the implications of the past decades’ overturning of the applecart of authenticity. To this end, his catalogue essay touches on a broad variety of themes, including the scope of simulation; the advance of artificial technology; the demise of the integral or unified subject;

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