New York

“The Hybrid State”

Exit Art

A fun-house rite de passage serves as introduction to “The Hybrid State.” The door to the gallery opens onto a small black-lit vestibule. Written in white on a door to a second chamber is the word “COLONIAL.” Banging your head on the “colonial,” which turns out to be a trick door (the upper half doesn’t open), you become wary. A door to the left is locked. A door to the right won’t open. In front of you the word “POST-COLONIAL” is written on Door Number Three—another booby trap—but by this time you are savvy enough not to hit your head. On a final door is the name of the exhibition. No tricks this time. Welcome to “The Hybrid State.”

The working premise of the exhibition is a twist on the idea of collaboration. The artists involved—Ida Applebroog, Luis Camnitzer, Juan Downey, Jimmie Durham, Ming Fay, Guillermo Gómez-Peña, Nancy Grossman, David Hammons, Jerry Kearns, Juan Sánchez, Anton van

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the March 1992 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.