Los Angeles

Rob Fischer

Mary Goldman Gallery

Whether grafting a house onto an airplane (as he did in Cargo Plane with Crate House, 1996), constructing stacks of domestic-style couches, or, in what has become a signature move, gutting, upturning, and slicing and dicing Dumpsters, Rob Fischer has developed a practice that links two established sculptural traditions: the found object and the post-Minimalist environment. For his recent exhibition, Fischer filled the space with a single work that fits nicely within his oeuvre, which habitually pits clunkiness against elegance, movement against stasis, and whim against rigor. This work, however, was both conceptually nimbler and more formally accomplished than any of the artist’s previous projects.

Expanding on his recent works using salvaged floorboards, Fischer here ransacked a gymnasium. Joined together in planks ten boards wide, the reclaimed timber formed a path running throughout the

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