New York

Christian Holstad

Daniel Reich Gallery

An OPEN sign Scotch-taped to Daniel Reich Gallery’s front door was hardly an idle signifer. With all its low-rent connotations, its purpose was evidently to inform passersby that the gallery was taking customers (and to implicate the casual visitor as customer)—even if this intention was undermined by the blunter, contradictory statement implied by the mesh roll-down gate obscuring the gallery’s storefront window.

Insofar as the gate has always been there, it wasn’t part of the installation per se, though that’s not to say the gesture wasn’t intentional; in fact, the artist, Christian Holstad, had requested that it remain lowered throughout the duration of his exhibition. The gate presaged the “lattice” or “cage” motif—as well as a concern with the visual tropes characterizing the “downward” economy—that suffused the whole of “The World’s Gone Beautiful,” Holstad’s fifth solo show with the

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