new-york

Guillermo Kuitca

Sperone Westwater

Guillermo Kuitca has said on more than one occasion that he is “looking for reality,” but the one his maps, interior scenes, and floor plans ultimately point to is psychic rather than physical. Two of the works in his recent show “Puro Teatro” (Pure theater) featured a favorite trope, a spectral, stagelike space littered with furniture, but a series of 13 theater plans with numbered seats dominated the rest of the gallery. Suggesting waiting, watching, and reflection, the theater plans privileged time over space—one imagined a ghostly audience anticipating the end or beginning of a performance. Kuitca’s remarks in a 1994 interview about his use of “numbered and compartmentalized spaces” point to the anxious obsession with anonymity that underlies his use of architectural plans: “It is as if each [one of us] were part of a great master plan, one which, with a degree of desperation, I have

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