cleveland

View of “Michelle Grabner,” 2013–14. Foreground: Replica of The Suburban. Inside, left: Karl Haendel, The bridle from the saddle and the cow from the cattle (detail), 2013.

Michelle Grabner

MOCA Cleveland

View of “Michelle Grabner,” 2013–14. Foreground: Replica of The Suburban. Inside, left: Karl Haendel, The bridle from the saddle and the cow from the cattle (detail), 2013.

During the past sixteen years, Michelle Grabner and Brad Killam have presided over some two hundred ad hoc exhibitions in an eight-by-eight-foot converted shed behind their house in Oak Park, Illinois, known as the Suburban. A full-scale replica of this concrete-block structure anchored “I Work From Home,” Grabner’s midcareer retrospective: She selected four artists—Michael Smith, Jessica Jackson Hutchins, Amanda Ross-Ho, and Karl Haendel—to display work therein, effectively creating a rotation of shows within the show. Grabner would appear to be among the most generous artists of her generation: She is keenly interested in what other artists do; she frequently brings people, ideas, and objects together; she writes about other artists’ works; she’s an educator and mentor. The sum of these activities, together with her own studio work, constitutes a mutually inflective

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