new-york

Aaron Spangler

Feuer/Messler

In the contemporary art world, work featuring (or even originating from) the prairie states is about as popular as wood carving, but both figured prominently in Aaron Spangler’s recent exhibition. While there have been fitful creative explorations of Unabomber Ted Kaczynski’s Montana cabin by Seth Weiner (in faithful reproduction; Hermitage, 2007), Constantin and Laurene Leon Boym (in souvenir mode; Souvenirs for the End of the Century, 1998), and Richard Barnes (in crisp color photographs; 1998); and while Catherine Opie has captured the languor of Minneapolis’s ice-fishing huts and Habitrail of skyways (“Icehouses” and “Skyways,” both 2001), ultimately these are all objective—sometimes trivial—architectural studies that tend to obscure, if not ignore, the lore of the places they crave to capture.

Spangler, by contrast, searches beyond—or, more accurately, before—the

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