new-york

View of “Tom Sachs,” 2012.

Tom Sachs

Park Avenue Armory

View of “Tom Sachs,” 2012.

Though Tom Sachs’s preposterously hypertrophic installation “Space Program: Mars” proposed to viewers a kind of voyage, it turned out to provide a very different sort of trip than the one advertised. Organized by Creative Time, the prolific artist’s ersatz expedition to outer space—which colonized a heroically large proportion of the Park Avenue Armory’s floor plan—never really got off the ground. But the actual journey on offer, one into the mind and working habits of its author, was a fascinating adventure nonetheless.

The show was, in essence, an extravagant, life-size (and then some) working model recapitulating Sach’s modus operandi—a madly macrocosmic enactment of his legendarily fastidious studio practice. And the array of quasi-participatory, bricolaged sculptural scenarios that composed it beautifully demonstrated not just the artist’s carefully honed sense

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