New York

Diana Cooper


Diana Cooper’s new show had something for everyone. For that side of you that loves chaotic dispersions, there was installation; for those who prefer the lure of the autonomous object, there was a little painting. Many of the works are grounded in the medium of drawing; others utilize the two-dimensional surface as a kind of launchpad for wildly aggregating networks of pipe cleaners, paper chains, catheters, and tinfoil. The show was genuinely pleasurable to look at, but satisfaction could also be derived from how effortlessly Cooper’s work seems to occupy the space between process and the pictorial.

Executed in ballpoint pen and colored marker on paper or unstretched canvas stapled to the wall, the drawings are composed of patterns of proliferating lines, shapes, and doodles, suggesting themselves variously as topographical maps, computer circuitry diagrams, or architectural plans. But

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