New York

Liam Gillick

Casey Kaplan

“The state itself becomes a super whatnot”—whatever! I so want to believe in Liam Gillick’s post-Fordist cosmology of poeticized socioeconomic rhetoric. Alas, the elegant array of new works grouped here under the aforementioned title phrase merely reconstitutes Gillick’s ongoing project: the instrumentalization of codes of (neo)Minimalism and (neo)Conceptualism, inflected by rather soft, ingratiating contextual/situational tactics. His enterprise engenders a variant of intellectual ventriloquism: Decorative object-structures are deployed to give voice to a broader ideational framework (supplemented by an obligatory press release spun in the language of hazy social relevance).

Structured so as to be self-referential, the show proposed a closed binary system of formal/structural relationships. The title was writ large on the entry wall in slick black vinyl letters; this is actually a work in

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