new-york

Sarah Oppenheimer, D-33 (detail), 2012, aluminum, glass. Installation view.

Sarah Oppenheimer

P.P.O.W

Sarah Oppenheimer, D-33 (detail), 2012, aluminum, glass. Installation view.

A thoroughly serious and accomplished maker, and unmaker, of both space and structure, Sarah Oppenheimer intervenes in architectural environments in ways that not only destabilize and reorganize the physical facts of those given sites, but also start to provoke realignments of viewers’ own native sensoriums. Encounters with Oppenheimer’s disorienting structural build-outs or trademark cuts, slots, or oculi—here, in her first solo New York show in over five years, represented by a pair of slyly intricate incisions that managed to simultaneously unite, separate, and alter conditions in the six adjacent rooms they connected—typically induce a certain kind of vaguely vertiginous, almost giddy uncertainty. Is that space open or closed? Is it inside or outside? Is this surface transparent or reflective? Is that light coming from here or from there? Yet for all the substantial

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