new-york

Gabriel Orozco

Marian Goodman Gallery | New York

The words “Constructivism and Existentialism” could be discerned through the blur of text and images that comprised the small “drawings” (all 1992–95) hanging in the back gallery, a space dominated by a striking, oval-shaped billiard table. Some of the collages featured textual fragments—excerpts from daily newspapers or trade publications—others, images of domestic interiors culled from professional catalogues and decorating magazines, which were then covered with drawn or painted circular and oval shapes. In the front gallery, a similar combination of figurative images and formal shapes existed. Here, six photographs taken from the sports section of newspapers were enlarged and combined with computer-generated images so that a partial grid of circles and ovals, divided, say, into red, white, and blue quadrants, obscured sections of the depicted figures. When these strangely doctored

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