New York

View of “Jon Rafman,” 2013.

View of “Jon Rafman,” 2013.

Jon Rafman


View of “Jon Rafman,” 2013.

Someone should have told Jon Rafman to restrain himself. His inaugural exhibition at Zach Feuer was packed, and unevenly so: Upon entering, you encountered racks of plastic video-game cases with labels showing Thomas Cole’s early-nineteenth-century Course of Empire landscapes; a granite floor plaque engraved with the names and closing dates of defunct New York State malls; stacks of a newsprint giveaway featuring an essay, oral histories, and a back-page comic strip; two Alienware laptops, one wrapped in fake reptilian skin, the other in fleshy epoxy; three featureless and fluidly warped urethane busts; an environment resembling a suburban den dusted with volcanic ash; displays of masks and weaponry alternately inspired by African tribal sculpture and sci-fi film props; and, interspersed throughout, several videos on flat-screen monitors. Individually, the works all pointed to

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