los-angeles

Claude Collins-Stracensky

Hammer Museum

Evidence of a manic, multitasking mind quietly pervaded the assembly of otherwise contemplative objects and larger architectonic maneuvers that constituted Claude Collins-Stracensky’s solo show at the Hammer. Before entering the square, glass-walled gallery located in the museum’s main lobby, one was directed to look through large circular apertures inserted in the drywall barriers separating the lobby from the gallery and the gallery from the street. Unlike the infamous portals Gordon Matta-Clark once chainsawed into condemned buildings, a gesture inevitably recalled here, Collins-Stracensky’s Sight Line, 2009—smooth excisions from the colored vinyl and reflective Mylar adhered to the gallery’s glass walls and the drywall partitions inside the glass exterior—was notable for its elegance rather than for any apparent brutality.

And, unlike Matta-Clark, in whose “anarchitecture” the residue

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