new-york

Gabriel Orozco, Satellite View of North America, 2014, oil-jet painting, 15 × 9 × 4 1/2".

Gabriel Orozco

Marian Goodman Gallery | New York

Gabriel Orozco, Satellite View of North America, 2014, oil-jet painting, 15 × 9 × 4 1/2".

Coming to Gabriel Orozco’s work a generation late, I find it difficult to imagine the impact it had when it was first presented to New Yorkers in the form of the legendary installation Yogurt Caps at Marian Goodman Gallery in 1994. The aggressive simplicity of that ultra-unassuming piece—it consisted of only four clear Dannon lids, one tacked to each of the walls of an otherwise empty room—was seen as deeply audacious, if not an affront. It was also, by most accounts, amazing, at once capturing and crystallizing a wide and diverse range of sensibilities then floating in the air in a way that felt so perfect, so right—these ranging from a wistful poetic ephemerality, the reclamation of quotidian detritus, an indexing of a plural body, and, perhaps most important, a dreamy nomadism and sprawling, ethereal post-national placelessness.

But what once seemed radical will

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