New York

Ti Shan Hsu

Leo Castelli; Pat Hearn

Can the technological be made expressive? Is the technological inherently expressive, much as we think the organic is? Has the “modem” task of art been to draw out this “new” expressivity, in celebration of the dominance of technology in our lives? These are the questions Ti Shan Hsu addresses. They are not new questions. They emerged with Constructivism and were sustained by Minimalism. What is new is that Hsu’s technologically oriented, geometrically conceived objects–among the most innovative (some would say eccentric) that I have seen in a while—are ambivalent rather than affirmative about technology. They accept its inevitability in our lives, but they do not exactly jump for joy at the “triumph of instrumental reason.”

John Dewey once said that we are only as good as our instruments, and the Constructivists believed that they could design modem instruments that would satisfy all our

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