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Martin Creed, Work No. 1674, Anouchka, 2013, pencil and watercolor on paper, 11 1/8 x 8 1/8".

Martin Creed

Gavin Brown's enterprise | 620 Greenwich Street

Martin Creed, Work No. 1674, Anouchka, 2013, pencil and watercolor on paper, 11 1/8 x 8 1/8".

What becomes of a Conceptual artist when he runs out of ideas? He becomes, with luck, an artist—without adjectives. Martin Creed has had some pretty great ideas in his day, enough to show that he knows implicitly what some artists never quite get around to learning: that a great art idea is one whose execution makes possible something that you’d never have imagined from its formulation. Case in point: his Work No. 202: Half the air in a given space, 1998, whose Robert Barry–esque ineffability (compare that artist’s designation as works, in 1969, of quantities of inert gases released into the atmosphere) is belied by the infantine delight of seeing it embodied by thousands of party balloons. Or else his Work No. 850, 2008, for which runners sprinted through the Duveen Galleries of the Tate Britain, in a kind of uncanny encapsulation of the stately “march of time” that museums

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