New York

Paul Chan

Greene Naftali

The orgy was already in full swing when I arrived at “Sade for Sade’s sake,” a predictably serious-minded if surprisingly dry survey of recent work by Paul Chan inspired by the eighteenth-century libertine author and philosopher. Elements of Chan’s project—a sprawling exploration, grounded in the Marquis de Sade’s work and routed through contemporary sociopolitics, of sexuality, violence, and liberty; of the relation of the body to language and the individual to the law—have been shown at the Venice Biennale and Chicago’s Renaissance Society. But this show, Chan’s second solo at Greene Naftali, found the artist in summary mode, and included a whole constellation of approaches orbiting around the marquis: more than fifty works on paper executed in ink and in pencil (some further adapted within sculptural scenarios), an ancillary typographic component, and, anchoring it all, the digital

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