New York

Joni Lee Mabe

Franklin Furnace

Some of the scariest films have been in documentary form—Leni Riefenstahl’s Triumph of the Will, Robert Frank’s Cocksucker Blues, Frederick Wiseman’s High School. In gallery-oriented art, the job of documentation is usually done through photography. Occasionally a social-critic-cum-artist like Hans Haacke will be taken at his word, although reinterpolating cultural logos is hardly the same thing as editing and framing the world. Joni Lee Mabe’s installation of collected and homemade Elvis Presley memorabilia was such a magnanimous critique of the phenomena surrounding the dead singer that it worked best when seen as a conditioned truth, too indiscriminately conceived to be art but too blindly subjective about its content to be anything else.

Mabe turned Franklin Furnace’s gallery and entranceway into a shrine of sorts, with Presley photos, clippings, and souvenirs plastered from ceiling to

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