New York

View of “The Wedding (The Walker Evans Polaroid Project),” 2011–12.

“The Wedding (The Walker Evans Polaroid Project)”

Andrea Rosen Gallery

View of “The Wedding (The Walker Evans Polaroid Project),” 2011–12.

At her foundation’s gallery space in Toronto and elsewhere, Ydessa Hendeles has organized exhibitions that set artworks and other objects, both everyday and extraordinary, in arrangements that blur the line between the curator’s discipline and the artist’s. Hendeles’s intensely thoughtful choices and placements involve intellectual and aesthetic processes of research and selection, as a curator’s do and an artist’s may, and each show responds to its site rather as installation art does, though it’s rare that installation artists give incisive attention to other artists’ work. Hendeles actually calls her exhibitions “curatorial compositions,” a name that teases out their mix of practices. “The Wedding (The Walker Evans Polaroid Project)” was her first, long-overdue exhibition in New York.

The show’s contents were: a group of replica (good replica) Stickley settles, child-size; a

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