New York

View of “the Generational: Younger than Jesus,” 2009, New Museum, New york. Foreground: Icaro Zorbar, Golden Triangle, 2006. Background, from left: Brendan Fowler, Poster for Dialog with the Band AIDS Wolf, 2009; Brendan Fowler, Untitled (Spring 2007–Fall 2008), 2009. Photo: Bendoit Pailley.

View of “the Generational: Younger than Jesus,” 2009, New Museum, New york. Foreground: Icaro Zorbar, Golden Triangle, 2006. Background, from left: Brendan Fowler, Poster for Dialog with the Band AIDS Wolf, 2009; Brendan Fowler, Untitled (Spring 2007–Fall 2008), 2009. Photo: Bendoit Pailley.

“The Generational: Younger than Jesus”

New Museum

View of “the Generational: Younger than Jesus,” 2009, New Museum, New york. Foreground: Icaro Zorbar, Golden Triangle, 2006. Background, from left: Brendan Fowler, Poster for Dialog with the Band AIDS Wolf, 2009; Brendan Fowler, Untitled (Spring 2007–Fall 2008), 2009. Photo: Bendoit Pailley.

ONE OF THE STANDOUT PIECES in “Younger than Jesus”—the New Museum’s inaugural triennial for artists under the fateful age of thirty-three—is Luke Fowler’s What You See Is Where You’re At, 2001, a video documenting schizophrenia treatments developed in the 1960s by psychiatrist R. D. Laing. The video begins with an overview of Laing’s experimental protocols, which are premised on the notion that schizophrenia is not an illness and therefore needs no cure, but the narrative quickly begins to derail. Shots of disoriented patients and their equally disoriented doctors are interspersed with close-ups of poetically illogical graffiti in an anarchic montage that mirrors the increasing chaos at Kingsley Hall, the London community center where Laing’s program was headquartered. And to the extent that it was a community in which meaning became a casualty of radical equivalence—everyone

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