New York

B. Wurtz

Feature Inc.

In the early ’80s, B. Wurtz’s sculpture was something like the artistic equivalent of putting two and two together and managing to come up with seven. He could take, say, one of those flimsy Styrofoam containers that cradles frozen pork chops, attach a piece of string to its center, anchor the string with a cork, and create a seductive UFO-like object with a peculiarly accentuated lack of meaning. His work showed ties to European artists such as Markus Raetz and Georg Herold, but with an original debunking wit located somewhere between the dryness of Andy Warhol and the broadness of the Three Stooges. Wurtz’s sophistication was obvious if entirely elusive, and even though the simple makeup of the sculptures allowed viewers to make a pretty good stab at the contents of his formal recipe, no amount of concrete information could demystify the things themselves. Even at their silliest, they

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