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Brian O’Doherty, Duchamp Boxed, 1968, electrocardiographic tracing, cardboard box, 1 1/8 x 4 x 2 1/8".

Brian O’Doherty

Galerie Thomas Fischer

Brian O’Doherty, Duchamp Boxed, 1968, electrocardiographic tracing, cardboard box, 1 1/8 x 4 x 2 1/8".

So they still exist, these miraculous little shows in Berlin’s galleries, when, for a little while, commercial spaces shake off the unbearable lightness of the mercantile world to become little kunstvereins or museums. Thomas Fischer has succeeded in just such a maneuver with his presentation (cocurated with art historian and filmmaker Boris Hars-Tschachotin) of “Brian O’Doherty: From Electrocardiogram to Rope Drawing.” The show is simultaneously a concentrated retrospective and a display of changing perspectives. While O’Doherty—an artist of many facets and at least two names—is famous for his 1976 triptych of essays on the white cube gallery, he is less recognized as an artist, at least in Berlin. That’s a shame, since O’Doherty, aka Patrick Ireland, excels at practical as well as theoretical work; he studied medicine and is as good a dissector as he is a reanimator.

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