new-york

Lee Boroson

Whitney Museum of American Art

Plotting public space consists of figuring out how to get people from here to there; any pause along the way tends to be carefully orchestrated. As a specialist in large-scale, site-specific sculpture, Lee Boroson draws on the city planner’s concepts of flow, pattern, confluence, and vantage point to both contradict and reveal the built environment. With their pliant contours and wafting bulk, his signature inflated nylon works are meant to stimulate awareness of spatial relations, to articulate felt yet unseen qualities of air and unused portions of social space—but also simply to provide moments of fun.

Suspended from the ceiling of the Whitney Museum’s four-story atrium at the Philip Morris corporate headquarters, Underpass, 1999, was a lattice of puffy, quilted panels of glossy blue and white cloth, a nuanced and intelligent experiment in mental architecture. From below, the bright,

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