New York

Olafur Eliasson

Tanya Bonakdar Gallery

A viewer rushing to Olafur Eliasson’s latest exhibition expecting a quiet epiphany or a spontaneous unveiling of the mechanisms of perception—an “Aha!” moment, as the artist says—would have been disappointed, at least initially. Eliasson had turned the gallery’s main space into a cluttered workshop in which cobbled-together shelves and ad hoc vitrines lined the walls and spilled into the center—not a stark, subtle “intervention” by any means. Titled Modelroom, 2003, the work was true to its name, functioning primarily as an invitation into the artist’s preparatory processes, which, we learned, are made up of equal parts architecture and science fiction and supplemented by a mammoth dose of advanced mathematics.

Everywhere one looked there was another vaguely alchemical, mad-scientist-meets–Buckminster Fuller confection—here a geodesic dome, there a spiral sphere, in the corner a star-shaped

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