new-york

View of “Haroon Mirza,” 2012.

Haroon Mirza

New Museum

View of “Haroon Mirza,” 2012.

For his first New York solo exhibition, curated by Gary Carrion-Murayari and Jenny Moore, British artist Haroon Mirza stocked the New Museum’s next-door storefront space with signal emitters. Studio speakers issue modemlike trills, junk-shop televisions flash syncopated bursts of white noise, and strips of LED lights intermittently douse the room in red, blue, or green. It is an installation that doubles as a concert, a pulsing electric fugue.

Surprisingly, the installation also supplies an inadvertent comment on the legacy of Matisse, specifically the painter’s characterization of his art as “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.” Though it’s debatable whether Matisse’s first audiences actually found the perceptual

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