new-york

Toland Grinnell

Basilico Fine Arts

Nothing if not an ambitious craftsman, Toland Grinnell debuted here in 1995 with an installation and performance piece, Booty, in which he transformed the gallery into a desert isle rendered entirely in vinyl. “Solid,” his recent show, took off on a flight of fancy inspired by the artist’s interest in the Baroque. The old-fashioned museum environment he painstakingly created, though, seems delirious from a case of Surrealism and abounds in hidden scenes, secret levers and compartments, and odd, anthropomorphic details.

Running along the gallery’s back wall was a huge, empty case lined with mirrored squares hung slightly askew (and some tilted outward by a wedge of epoxy). Their reflection of the entire room, refracted into cubistic fragments, became, in effect, the contents of the work, Approaching Zenith, 1998. To one side of the room, Killing Time, 1998, depicts two life-size figures on

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