new-york

View of “Margaret Lee,” 2014.

Margaret Lee

Jack Hanley Gallery

View of “Margaret Lee,” 2014.

No need to walk in. You could see everything through the window from the street. Atop a platform, before a freestanding wall, several items: a Rietveld chair, a Vitra stool, nesting tables by Superstudio. Hanging from the wall, a painting. Standing to the right, Brancusi’s Endless Column. Also, a dog—or rather, a cutout silhouette of a dog, its two-dimensional head tilted upward. Everything was painted white, with scattered dots. Black, grapefruit-size dots.

Such was Margaret Lee’s “closer to right than wrong / closer to wrong than right,” an ensemble of facsimiles fabricated out of MDF and covered in gesso. Apparently Brancusi duplicates are trending: Josephine Meckseper’s solo exhibition at Andrea Rosen Gallery this past November featured a wood replica of Endless Column within a glamorously dark vitrine. To passersby glancing through the gallery window, Lee’s display likely

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