New York

Mary Miss

Senior & Shopmaker Gallery

Rosalind Krauss begins her canonical 1978 essay, “Sculpture in the Expanded Field,” by considering an artwork made by Mary Miss earlier that year. Almost invisible from a distance, the piece is nonetheless enormous, its elements spanning four acres and comprised of vast amounts of steel, wood, and soil. Krauss attributes the work’s visual elusiveness to its placement literally below the radar. One of its components is a labyrinthine underground courtyard accessible to viewers only by descending a small wooden ladder. Yet, Perimeters/Pavillions/Decoys can hardly be considered “entirely below grade,” as the critic argues, since it also includes two earth mounds and three towers, all of which are aboveground and thus presumably in full sight.

Miss, a contemporary of Alice Aycock, Michael Heizer, and Robert Smithson, has honed an idiosyncratic practice that uses scale in order to diffuse rather

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