New York

Hiroshi Sugimoto

Sonnabend Gallery

With endless, near-serial, ritualistic repetition, Hiroshi Sugimoto shows us more or less identical blank screens of more or less identical drive-in movies. Our perspective is that of the film projector, but there is no film to project. Whether the show is over or it has not yet begun, the sense of absence is conclusive—the theater is empty. This silence suggests that the screen is an ever-receding horizon of expectation that allows for the free association of Modernist monotony, post-Modern ambiguity (the representation of the unrepresentable), and the traditional transcendentalization—iconic absolutization—of pure space.

But perhaps Sugimoto simply means to suggest that the movies are no longer a viable mode of imagination or consciousness. Only their site remains credible, however dead: the screen has become a technological residue, a self-museumifiying apparatus. The

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