new-york

Gino De Domenicis

Murray and Isabella Rayburn Foundation

This exhibition represented the first real chance for an American audience to see much work by Gino De Dominicis. The early pieces seen here are more or less classical Conceptual art, appealing to cognition and manipulating the viewer into interior visualizations. A square of white tape lines on the floor, for example, is titled Invisible Cube, 1968; a black arm chair is titled Invisible Person: The Fourth Solution to Immortality, 1972; a rubber ball lying on the floor is called Rubber ball (from a fall of two meters) at the point preceding the rebound, 1969; and a granite rock is titled Waiting for a chance molecular general movement in a single direction in order to generate a spontaneous movement of the rock, 1967—that is, waiting for the rock to hurl itself across the room.

De Dominicis’ work of the ’80s, like art of this past decade in general, returned to the pictorial surface, though

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