New York

“I am the Enunciator”

Thread Waxing Space

In an interminable catalogue essay, curator Christian Leigh states, “We have an imminent and dire need to look for new ways to exhibit and install exhibitions.” Yet the show in question struck me as all too familiar—a kind of attempt to resuscitate the ’80s long enough to squeeze one last gasp out of them. In the manner of many large, self-consciously post-Modern group shows of recent years, Leigh gathered works that did not seem unified in either form or content.

Traditionally (and it is already a tradition), this type of exhibition has certain goals. First, it attempts to undermine the Modernist tendency to categorize works neatly according to a putative similarity that is then foregrounded in order to exhibit them together; the universe implied by this Modernist emphasis on sameness is a comfortably ordered one that can be experienced without shock. The post-Modern group show, in contrast,

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