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Scott Hocking, The Egg and the MCTS #4718, 2012, ink-jet print, 33 x 49 1/2". From the series “The Egg and the MCTS,” 2007–.

Scott Hocking

Susanne Hilberry Gallery

Scott Hocking, The Egg and the MCTS #4718, 2012, ink-jet print, 33 x 49 1/2". From the series “The Egg and the MCTS,” 2007–.

Mixing the documentary mode with lyrical fiction, “The End of the World,” Scott Hocking’s recent show at Susanne Hilberry Gallery, presented Detroit as a surrealist archive: a site of contradictions in which revolutionary energy erupts from abject decay. On display were photographs of the city’s urban ruins as well as sculptural accumulations of objects—primarily books and taxidermied animals—that addressed or were indigenous to the region. A rusting Ford Mercury body anchored the surrounding works. Parked atop a bed of rock salt, the auto stood as an objet trouvé emblematizing the upward aspirations of the Motor City.

The photographs come from two series. In “The Egg and the MCTS,” 2007–, Hocking documents his construction of a totemic sculpture in one of Detroit’s most famous urban ruins, the Michigan Central train station, a neoclassical structure that was built in

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