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Sarah Morris, SM Outlined (Initials), 2011, household gloss paint on canvas, 84 1/4 x 84 1/4".

Sarah Morris

Capitain Petzel

Sarah Morris, SM Outlined (Initials), 2011, household gloss paint on canvas, 84 1/4 x 84 1/4".

Halfway through Sarah Morris’s film Points on a Line, 2010, a man signs a credit-card receipt in the Four Seasons restaurant in New York. He’s typical of the establishment’s diners: a wealthy suit who’s probably just enjoyed a decent lunch before heading back to the office for a languid afternoon. But rather than acting as a red flag to class warriors, Morris’s vision of the iconic dining room serves a structural or even architectural purpose, acting as a bridge between two seminal late-modern buildings: Philip Johnson’s Glass House in New Canaan, Connecticut (1949), and Ludwig Mies van der Rohe’s very similar Farnsworth House (1945–51) in Plano, Illinois. Morris shot both over several months, then edited them together with the Four Seasons as a link—a space that the two great architects collaborated on, Johnson having designed the restaurant interior for Mies’s building.

So

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