new-york

Rachel Harrison

Greene Naftali Gallery

This February, a resident of President Street in Brooklyn received a number of announcements for the same exhibition. The interior of the mailer—folded and sent sans envelope—offers a close-up detail of a densely textured surface swathed in patches of bright green, red, blue, and purple paint; a fake apple is tucked into its irregular contours. One exterior side of the announcement provides the details of Rachel Harrison’s fifth solo show at Greene Naftali and a blank space where address labels and stamps are affixed. But the other side bears competing information.

Reproduced there at actual size, the “note” side of an old postcard carries a succinct but strangely moving scrawled message (“Dear Lucy,” it reads, “Wish you and Mama were with me. Best regards, Skippy”), caption information for an image we cannot see (Smith Point Bridge on Long Island), a canceled four-cent stamp (Abe Lincoln’s

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