View of “Lutz Bacher: SNOW,” 2013–14. Photo: Stefan Altenburger.

Lutz Bacher

Kunsthalle Zurich

View of “Lutz Bacher: SNOW,” 2013–14. Photo: Stefan Altenburger.

IN 2013, New York–based artist Lutz Bacher staged three separate surveys of her work in Europe: at Portikus in Frankfurt; at London’s Institute of Contemporary Arts; and at the Kunsthalle Zürich, where “SNOW” was the last and most comprehensive to go on view. Though each exhibition could be considered a retrospective, none presented itself as a historicizing look back at the artist’s oeuvre. Rather, the independent shows, linked only by a catalogue and a shared time frame,tended to liquefy contours between individual works, imploding tout court any notion of Bacher’s work as a coherent body or chronology of development—a process that,since the mid-1970s, has evolved under the cover of a pseudonym and nearly exclusively via found objects and images.

Following the architectonic givens of the Kunsthalle Zürich’s building—with its galleries on two separate floors—the

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