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Stephen Prina

Galerie Gisela Capitain

On entering Stephen Prina’s recent exhibition, one was greeted by a monochromatic gray wall, on which the artist’s name and the title of the show had been applied at right angles to one another in large yellow letters. Mounted at the point where both met—as if it were part of a store’s product display—was a new CD, his first, titled (like the exhibition itself) “Push Comes to Love.” On a wall nearby hung a red monochrome painting, Push Comes to Love: Vivid Rose (all works 1999). This entry area, with its subtle resonances among gray, yellow, and red, created a minimal atmosphere characteristic of the artist’s work, which is often read as typically Conceptual, an impression that, in this case, did not suffice in conveying the underlying conceit.

The series in the next room, “Push Comes to Love: DAAD Gallery Berlin,” referred both to Prina’s show “Retrospection under Duress,” which he put on

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