Nathan Carter

Casey Kaplan

Nathan Carter’s bright, bustling “ALL CITY,” his third solo exhibition at Casey Kaplan Gallery, radiated a joy in formal experimentation that, in its childlike exuberance, paralleled the specifically boyish cast of its familiar thematic preoccupations. Carter World—not unlike the real world—subsists in a cacophony of amateur and pirate radio signals, intersecting vehicular trajectories, multilayered route maps, jargons, codes, and ciphers. In the artist’s last show at the gallery, in 2004, this world was imaged as looping wall reliefs of cheerfully painted wood that resemble elaborate homemade board games. A couple of works along the same lines were on show here, but the inclusion of a flotilla of mobiles, drawings, collages, and photographs made “ALL CITY” feel like the start of something new.

Persisting with his use of extended titles that at once clarify and obfuscate—one example, THE

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