Hélio Oiticica and Neville D’Almeida, CC5 Hendrix-War, 1973, slides, music, hammocks. Installation view.

Hélio Oiticica “Quasi-Cinemas”

Wexner Center for the Arts

As a child there are three main things you learn about art. First, it’s supposed to be beautiful. Second, it’s something you shouldn’t touch. And third, if you stand in front of it for long enough, your feet will start to hurt. Certainly, art’s radical transformation in the late ’60s and early ’70s from self-contained object to multimedia installation cannot be ascribed entirely to orthopedic concerns. But their significance should not be overlooked. An interviewer argued to Marcel Broodthaers that the public’s preference for his Jardin d’hiver among the works in a 1974 Brussels show proved its aesthetic merit. The artist offered a different explanation: “There are chairs,” he noted, “and one can sit on them.” Our unruly physical selves, Broodthaers reminds us, cannot be wished or willed away in some grand apotheosis in which earthly sight merges with supreme self-consciousness. Brazilian

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