Lucy Skaer

Counter Gallery

Lucy Skaer’s London solo debut was entitled “The Problem in Seven Parts,”’ with the ostensible problem—intimated by the fact that this exhibition of pinned-up drawings came in not seven but nine segments—being this: Skaer appreciates material facts on an individual basis, but sequential logic is anathema to her. The Glasgow-based artist’s contribution to last year’s Beck’s Futures exhibition at the Institute of Contemporary Arts here, for example, was a set of giveaway posters that drew attention to fugitive actions she claimed to have performed, such as secreting moth and butterfly pupae in London’s Old Bailey criminal courts and placing a scorpion and a diamond on an Amsterdam pavement. Like those stunts, this show’s productions hint at an obscure civic purpose, albeit one further disguised by their status as art objects.

In The Problem in Seven Parts, Part 1 (all works 2004), a

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