Rachel Whiteread, Threshold II, 2010, resin, 77 1/8 x 29 7/8 x 3".

Rachel Whiteread

Luhring Augustine | Chelsea

Rachel Whiteread, Threshold II, 2010, resin, 77 1/8 x 29 7/8 x 3".

Rachel Whiteread’s basic project—to give substance to the void and endurance to the transitory, to fill in the blank—is both realized and contradicted by the main group of works in this show, which put clarity and color to ethereal effect. Whiteread’s well-known earlier sculptural casts of anonymous spaces and objects (the little volume between the legs of a chair, the three-story interior of a nondescript house on a London street) materialized, even monumentalized, the unconsidered and unseen, but didn’t always beautify them. That house, for example, installed in 1993 in Mile End, London, was made of concrete, bringing a brute facticity to a long-derelict neighborhood then being cleared for redevelopment. Beautiful it was, but in a complicated, arguable way, as was shown by the controversy around it, not to mention its eventual demolition. The wall-based works in “Long

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