For the last ten years Liam Gillick has been preoccupied with the construction of the social. His spare, cerebral installations investigate relationships between artistic practice and the networked systems that establish the social realm—written language, iconography, economics, architecture, design, and, particularly, the elusive notion of “place.” Gillick’s work is always articulated within a retro-avant-garde vocabulary of Minimalism to Donald Judd, Dan Graham, Barnett Newman, El Lissitzky, and Piet Mondrian, among others. These references to previous avant-garde practices themselves