new-york

Tony Feher

Richard Anderson Gallery

What might it mean to bear witness to the trivial, to personalize detritus, to transform the utterly generic into a kind of miniature theme park of memory? Displaying a lyricism that borders on the narcissistic, Tony Feher’s floored, piled, and scattered arrangements of both useless and once-useful quotidian objects—jars, packing materials, bits of lumber, and the like—monumentalized the apparently banal, suggesting that even the most commonplace items can be suffused with personal significance.

On the one hand, Feher’s works—discernible as such thanks only to the treasure-hunt-like “map” provided by the gallery—clearly referenced art-historical precursors from Marcel Duchamp to Richard Serra. That the phrase “Untitled Monumental Sculpture” comprises the first part of the title of several pieces is a reflection of Feher’s playful critique of the inflated, almost totemic status of the found

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