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Mark Dion, Xylotheque (detail), 2011–12, wood, glass, electric lighting, porcelain cabinet knobs, wood inlay, plant parts, paper, papier-mache, clay, wax, paint, wire, vellum, leather, plastic, ink, dimensions variable. Photo: Anders Sune Berg.

Mark Dion

Mark Dion, Xylotheque (detail), 2011–12, wood, glass, electric lighting, porcelain cabinet knobs, wood inlay, plant parts, paper, papier-mache, clay, wax, paint, wire, vellum, leather, plastic, ink, dimensions variable. Photo: Anders Sune Berg.

SINCE THE LATE 1980s, I have been committed to a methodology in which the form and content of what I make are determined by the conditions of the site. Diverse factors ranging from the location’s social history to the present zeitgeist to the project’s budget and the skill level of the people assisting me all have an impact. Frequently, the issues I address require a certain knowledge base, and so sometimes I need to establish a protocol for providing viewers with biographical or historical information about my subject. This can be a text, a handbook, or even a docent. While I have always prioritized the physical installation of my work and feel that the best way to experience it is to share time and space with it— to be in the room surrounded by it, to be affected by its scale—I also care very deeply about the printed materials I produce, and I work with some really

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