New York

Devon Dikeou

Postmasters

Art about the art world is practically a genre unto itself, and a fairly limited one. We’ve seen paintings of art gallery advertisements, drawings of museum floor plans, bar graphs tabulating the output of famous Abstract Expressionists, and in Houston several years ago, a room full of large canvases with artists’ resumes silkscreened onto them, by a conceptualist named Mark Flood. Devon Dikeou’s recent installation, a series of signboards recording every group show she has participated in since 1991, resembled Flood’s, but had a formal obsessiveness that threatened to lift it out of this cozy realm of metacritique. She documented her group shows, sixty-one in all, using metal-rimmed announcement boards—those ordinary glass display cases with moveable white letters on a black background, frequently seen in churches and the lobbies of SoHo gallery buildings—which she hung in crisp double

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