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Robert Gober

Galerie Max Hetzler

Recently Robert Gober’s sink was a favorite object of interpretation, a thing that offered a new surface for projection and reference (Marcel Duchamp, Robert Morris, Donald Judd, to name merely the cornerstones). Exposure, disease, the unconscious, archetypes of culture, symbols of existence—all these have been read into the sink. What next? Nevertheless, Gober managed, in these exhibitions, to discard the notion that we are living in a stage of aftermath. He shows us a balancing act, and also states its necessity—cautiously and sincerely.

Most of Gober’s objects are handmade or at least visibly handworked, and executed in simple materials. At Galerie Max Hetzler he showed new objects in his repertoire: whitewashed door fragments, which, pressed against a wall, looked almost like reliefs; and a white, plaster-coated stool, which was here placed in the middle of the gallery space. White—a

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