New York

Sowon Kwon

Whitney Museum at Philip Morris

“I LIKE GENERIC, DEADPAN TITLES.” Such was Sowon Kwon's apt comment on her recent installation Two or Three Corridors, 2000, a work christened while the artist was evidently in a '60s state of mind—think of the piece as the indecisive offspring of Richter's Eight Student Nurses, or Ruscha's Twentysix Gasoline Stations, or Kosuth's One and Three Chairs. Kwon's installation itself, however, was structured more in the spirit of Michael Asher's “situational aesthetics,” as the artist displaced a series of works from the collection of the Philip Morris offices to the Whitney's space in the corporate lobby.

Presented salon-style in the first room of the gallery, Kwon's rehanging comprised only six images; no selection process seemed at first to be in force except perhaps for the collective triviality of the assembled work—an ugly Warhol, a lame Wegman, an Alechinsky etching from the

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