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

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