new-york

Zoe Leonard, December 3, frame 3, 2011–12, gelatin silver print, 30 1/2 x 24 3/4".

Zoe Leonard

Murray Guy

Zoe Leonard, December 3, frame 3, 2011–12, gelatin silver print, 30 1/2 x 24 3/4".

Moving. It’s a word that, used to describe artworks, risks cliché, to say nothing of dangerously separating affective responses from intellectual ones. Yet for the past three decades, Zoe Leonard has honed a practice that calls for and complicates this slippery denomination: In her first solo show in a New York gallery since 2003, she even employed the literal valence of the word. She rendered Murray Guy’s newly expanded Chelsea space a giant camera obscura, conjuring a vast, continually changing image. Emptying the room while filling it lushly to the brim, she shuttered its windows, refusing all natural and artificial light, save that which penetrated via a small circular hole fitted with a lens, so that viewers entering the space found themselves initially blinded—their eyes needing time to adjust to the lack of light—then slowly engulfed by a dawning, ever-shifting

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