New York

Jason Dodge

Casey Kaplan

Having been the focus of sustained critical analysis and artistic practice for decades, “the real” has at last become nothing more than an engine to generate special effects and narrative follies. Maybe it’s natural that after an avalanche of art predicated on personal expression, with “authentic” voices intoning the contents of their souls and soliciting us to care about this or that woeful injustice, we would gravitate to pure fantasy and made-up misadventures.

In Jason Dodge’s second one-person exhibition in New York, the artist’s concern with what’s real and what’s not reveals itself as an obsession. “Le Touquet” is the name Dodge gives to his exclusive “Palace Hôtel au Vuilaux,” a fictional retreat nestled, we are told, in some lovely little corner of France. The installation, whose lengthy title is the text of a telegram alluding to an interrupted or abandoned love affair, consists

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