New York

Josephine Meckseper

Elizabeth Dee Gallery

Writing about Robert Morris’s Mirrored Cubes, 1965, Rosalind Krauss observes that the viewer is “trapped in the cross fire of the mutual reflections set up by the surfaces of the four facing blocks . . . It is, perhaps, in this work more than any other that seriality is defined as the opposite of progress.” Morris’s boxes were originally placed in an otherwise empty gallery, with nothing to distract us from our own physical presence at the center of their infinite reflections. In Josephine Meckseper’s second solo exhibition in New York, two mirrored cubes placed in the center of the gallery reflected not only the viewer but also copious amounts of ephemera relating to the worlds of high-end commerce and political activism. The viewer was thus enmeshed in a “seriality” of images whose leveling power implied an altogether more depressing definition of “the opposite of progress”: If the

Sign-in to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the February 2006 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.