For his first solo show in New York, Los Angeles–based artist Glenn Kaino commandeered the gallery with two new sculptures, pointed in their social critique yet open-ended enough to allow multiple interpretations. Upstairs there was In Revolution (all works 2003), a heavy metal triangular base with an armored motor at its apex, supporting an eight-foot propeller-like arm. This angled arm spun at forty revolutions per minute, filling the room with the sound of its turning. Mounted at one end of the revolving arm was a three-foot-square curved architectural model of suburban real estate: a split-level house with a swimming pool (its water held in place by centrifugal force). At the other end of the propeller arm was a large rock.
On the one hand, you might say that the boulder (or, at that scale, meteor) is forever falling toward the tidy home, threatening, with every splash of the pool, its
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