New York

View of “Colby Bird,” 2013–14.

View of “Colby Bird,” 2013–14.

Colby Bird

Fitzroy Gallery

View of “Colby Bird,” 2013–14.

“Rules: consistent dimensions, accurate Kodak Color Control Patch colorways, precise professional framing, careful art handling, correct installation, proper contextualization, sale of work.” Whether the last of these items—listed, along with a set of “mediating actions,” by Colby Bird as critical to his recent exhibition “Clyde Glenn Burns”—was realized may remain forever known only to the artist, his dealer, and their actual or prospective collectors. I can report, however, that every other condition was met. Yet Bird’s second solo outing here was far from the dry classic-Conceptual exercise that this deadpan prose poem might have led one to expect; it was, in fact, highly crafted, even sensual.

The show, named for “an elderly handyman in Valley Mills, Texas” who exerted an unspecified influence over the artist, consisted of three bodies of work. Entries from Bird’s “

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