Cerith Wyn Evans

Museum of Fine Arts, Boston

Eight years after his solo debut at White Cube in London, the work of Cerith Wyn Evans—a fixture in European galleries and museums—finally arrived in the United States at the Museum of Fine Arts, Boston. It was worth the wait, as I discovered as soon as I came face-to-face with the five-foot-wide concave mirror (Inverse, Reverse, Perverse, 1996) that is the show’s curtain-raiser. The title refers to the three reflections one encounters when approaching the work: from a distance of about four feet, an upside-down, warped view of the visual field; a step closer, a blown-up image of one’s torso, along with a percussive echo; another step, a more conventional mirror image, albeit alarmingly close up. Beyond this introduction, the rather spare installation has a simple sequence: After Inverse, Reverse, Perverse comes a room hung with striking black-and-white photographs by Wyn Evans’s

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