New York

Michael Madore

Bridges & Bodell

Until now, Michael Madore’s work has appeared mainly in group shows held under the dubious rubric of Outsider art, with which it seems to share merely a tendency to a totemic use of animals, such as snakes and marsupials, as well as to “manic,” jittery, doodle-like lines that swarm over the picture plane and onto a drawn frame. Shot through with allusions to cult films, art history, and coterie fiction, the seventeen ink drawings in his first one-person show, “Secret Sender 6000,” are, if anything, “insider art”—that is, art plain and simple. The title, an allusion to beepers used mainly by schoolgirls to transmit messages during class, suggests that Madore’s work is above all involved with addressing the very un-naïf issues of cliquishness and the politics of the coterie.

The primary difference between Madore’s recent and earlier work is the incorporation of language, both his own writings

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