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“Constructions: Between Scultpure and Architecture”

In the 20th century, construction, once associated almost exclusively with architecture, has become central to art-making as well. It has provided access to a site for much provocative as well as much forgettable work. Although “Constructions: Between Sculpture and Architecture” did not raise new issues, curator Frederieke Taylor did present a lively look at eight young New York artists who are responding to the challenges of this hybrid zone with exceptional intelligence and vitality.

In Amy Hauft’s Theater of Memory and Surveillance, 1988, a length of chiffon hanging from the ceiling to the floor formed a cylindrical space. Inside, a rotating fan generated a gentle and constant agitation of the fabric walls. Around the chiffon panels, nine framed mirrors suspended by wires from the ceiling formed another cylindrical element at eye level. One mirror was layered with acetate photographic

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