View of “Roni Horn aka Roni Horn,” 2009, Tate Modern, London. Foreground: Things That Happen Again: For Two Rooms (detail), 1986. Background: Could I, 1995.

Roni Horn

Tate Modern

IS MINIMAL DIFFERENCE a major subject? Even so-called identicals, Marcel Duchamp observed, reveal shades of difference, which he memorably called infra-thin. Roni Horn’s work mines that proposition exhaustively, asking us to find differences in things and then to question why we need them. For Horn, the terrain of likeness—that which is similar, the same yet different, akin, or simply close—encompasses a panorama of experience. Her work dwells on differences of degree that, she suggests, constitute as profound a representational problem as the starker discrepancies that conventionally give us our social and sexual selves.

“Roni Horn aka Roni Horn” at Tate Modern offered an expansive and eloquent presentation of the artist’s corpus of drawing, sculpture, photography, and books. Co-organized with the Whitney Museum of American Art and curated by Donna de Salvo, Carter Foster, and

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