Monica Bonvicini


Entering Monica Bonvicini’s exhibition “Both Ends,” one became caught in a face-off between two works that confronted each other across the kunsthalle’s atrium. In the rotunda on one side was the seven-paneled arc of These Days Only a Few Men Know What Work Really Means, 1999, a digital collage depicting a construction worker–themed gay porn fantasy. Four floating green circles “censor” the image, two of which enclose the likenesses of Peter Eisenman and Michael Graves in miniature, as if the architects were imprisoned by their own auras. The lurid content of These Days edged into the gratuitous under the flickering illumination provided by Built for Crime, 2006, in the exhibition room opposite. In this work, flashing lightbulbs spelling out BUILTFORCRIME are set in safety glass that is cracked in places, as if the work has been shot at. The piece was slotted into the exhibition space so

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