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“Artschwager: His Peers And Persuasion, 1963–1988”

Daniel Weinberg Gallery

Until recently, Richard Artschwager’s work had always been considered an anomaly at the margins of late Modernist practice. Although tied variously to Dada, Surrealism, Pop, Minimalism, and Conceptualism, and long considered seminal in exploring the blurred significations of painting/sculpture, sculpture/furniture, and object/image, the almost fetishistic banality of much of Artschwager’s output makes it extremely difficult to categorize. While his frequent use of Formica, celotex, and media-generated imagery points to a simulationist esthetic critical of Modernism’s innately self-reflexive “artfulness,” Artschwager’s nonutilitarian works are nonetheless unique, handmade objects, generating an often hermetic aura that is as seductive as it is estranging.

In the wake of the renewed interest in Artschwager’s work following his recent retrospective at the Whitney Museum, a contextual survey

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