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View of “Rirkrit Tiravanija.” Wall text: untitled 2011. Plywood structure: untitled 2011.

Rirkrit Tiravanija

Gavin Brown's enterprise | 620 Greenwich Street

View of “Rirkrit Tiravanija.” Wall text: untitled 2011. Plywood structure: untitled 2011.

Rirkrit Tiravanija has always understood, intuitively and intellectually, that a gallery is a social frame, at once quasi-private and quasi-public, wherein a diverse range of encounters and frictions connected to rituals of making, displaying, and consuming art are staged. I vividly recall his exhibition “Untitled, 1992 (Free)” at 303 Gallery, for which structural elements and appurtenances from the space’s back office were displayed in the front of the gallery, and the office was converted into a rudimentary cooking and eating area, with free curries offered daily. I saw this as a deftly materialized symbolic intervention, playfully utopic and post-utopic, but probably not an attempt to subvert or reinvent the fundamental economics of the commercial art system. Early on, Tiravanija recognized the inherent contradictions and the intrinsic limits of his art—that any actuality

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