New York

Paul Pfeiffer

Gagosian Gallery/The Project

In its ambition and substance one of most significant gallery shows of last fall in New York, Paul Pfeiffer’s “Pirate Jenny,” a sprawling exhibition divided between Gagosian Gallery in Chelsea and The Project uptown, confirmed the artist’s continuing fascination with time and perception, as well as his ability to manipulate both to resonant effect. If the scale of the far-flung show—which included nineteen pieces in video, film, photography, and sculpture—threatened to diffuse the overall effect of the work, it also seemed to bring certain essential aspects of Pfeiffer’s sophisticated practice into sharper focus, foregrounding elements ripe for further development as well as those that may have begun to exhaust themselves.

Pfeiffer first garnered recognition for his uncanny digital manipulations of found footage, often displayed on tiny monitors that beckoned viewers into physical intimacy

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