new-york

Cheyney Thompson

Andrew Kreps Gallery

Cheyney Thompson’s recent exhibition looked, and was, quite simple—the way an algorithm used to generate a complex system can be simple. Here, the system was “art” or “representation,” and Thompson managed, via slyly restricted means, to involve not only painting, sculpture, printing, photography, and installation, but also a comment on the layout of galleries as showrooms flanked by storage closets. The point of the project was (a) a double entendre on “representation” as both the function of images in relation to the world and the function of galleries in relation to the artist. Or (b) a send-up of/homage to strategies of haut Conceptualism and institutional critique. Or (c) a sensitive essay in traditional art problems like the relation between hue and value, variations on the grayscale, and the flat grid compared to the perspectival orthogonal. Or (d) all of the above.

The show worked

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