New York

Perry Hoberman


As noted in another publication, the title of Perry Hoberman’s recent show, “Sorry We’re Open,” wryly commented on the flight of many galleries from SoHo and on the neighborhood’s ongoing mall-ification. But if the SoHo crowd is shifting from cutting-edge cognoscenti to middle-of-the-road suburbanites, then so much the better for Hoberman. His latest installation not only addressed the workaday lives of the latter—remarkable enough in itself—but was actually accessible and populist, as opposed to snide and ironic.

A mutant version of the most average office imaginable, “Sorry We’re Open” was not visually impressive, and wasn’t meant to be. In keeping with its subject, it had the kind of deflated loser aesthetic so popular right now (in both visual art and the culture at large). Hoberman favored cheap and/or cheesy materials: a labyrinth of purple cubicle walls, steel and formica shelving,

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