New York

Peter Piller

Andrew Kreps Gallery

A quietly persuasive lesson in how destabilizing—and enriching—the effects of experiments with accumulation and strategic recontextualization can be on the function and meaning of images, the absorbing New York solo debut of German Conceptualist Peter Piller demonstrated once again the almost inexhaustible latent potential for menace, humor, or pathos that resides within even the most colorless visual artifacts.

Piller brings a rich set of source materials to his enterprise. During a stint at an advertising agency, where his job was to sort through regional German newspapers to verify that the firm’s ads had been correctly displayed, the artist began clipping examples of mostly anodyne press images he came across, eventually amassing a cache of thousands of such pictures (as well as others from different sources) that he’s spent the last decade reclassifying in a variety of ingenious ways.

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