new-york

Robert Barry

Holly Solomon Gallery

Robert Barry’s first projection piece in over ten years consists of grainy, circular, black and white photographs of friends, family, and associates interspersed with colored words and circular shapes. While the fragmented and rambling narratives of his word works, reminiscent of concrete poetry, have become increasingly psychologically suggestive over the years, Not Intended, 1991, takes the plunge into unabashed autobiography. Until now the voice has never been clearly identified; we remember Barry’s insistence that “language can be used to indicate the situation where art exists” and have attributed to his floating signifiers and broken syntaxes the status of langue, as opposed to parole. The point here isn’t to what the words refer (or who speaks them), but rather the form the speech takes and the fact that it exists in the first place. If language’s function here is merely to signify

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