View of “Max Hooper Schneider,” 2013.

View of “Max Hooper Schneider,” 2013.

Max Hooper Schneider

Federico Vavassori

View of “Max Hooper Schneider,” 2013.

Melding the terrestrial and the surreal, the scientific and the phantasmagoric, the works of American artist Max Hooper Schneider borrow language from the fields of biology and quantum mechanics as much as they do from art history. In this show, drawings, paintings, and living organisms (humans among them) constituted a landscape of mutual modification. Some visitors to Federico Vavassori this past summer might have already been aware of the artist’s proposal (which, in August he would seek to fund via Kickstarter) to produce the “first ever, life-sized, glowing Beluga whale skeleton,” in the interest of making visible the “aliveness of nonhuman things.” So for these viewers, the unconventional formats Schneider chose for his drawings and paintings—one work was roughly woven; two were suspended from butcher’s hooks and another submerged in a tank of fish—likely came as

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