For a long period David Lamelas’ position in the art world was somewhat peripheral—partly because of his Argentinean origins, but also because his cultural critiques at times challenge the very workings of the art market. This substantial exhibition, entitled “A New Refutation of Time,” recognized the significance of Lamelas’ production between 1963 and 1976.

Although a critique of mass media’s pictorial conventions and narrative structures has become central to Lamelas’ project, he began as a sculptor in the early ’60s, exploring the symbolic potential of abstract forms and the tension between