mexico-city

View of “José León Cerrillo,” 2016. On floor: Double Fault (Dresde 2), 2016. On wall, from left: New Grammar (tie breaker), 2016; New Grammar (error forzado) (New Grammar [forced mistake]), 2016. Photo: Ramiro Chaves.

José León Cerrillo

joségarcía ,mx

View of “José León Cerrillo,” 2016. On floor: Double Fault (Dresde 2), 2016. On wall, from left: New Grammar (tie breaker), 2016; New Grammar (error forzado) (New Grammar [forced mistake]), 2016. Photo: Ramiro Chaves.

I arrived at the gallery to find the lights still off, the door locked. No matter. A look through the windows revealed an exhibition made to be seen from the outside looking in. From the street, I could see a blue tennis-court floor cutting through the space, landing like a slanted pancake on top of the rooms. In some ways, this piece—Double Fault (all works 2016)—presented a visual paradox. Because it traversed more than one room, it couldn’t fully be comprehended from outside; the only way to understand it was to move through the space. Yet the exterior perspective was in other ways more helpful, offering the distance to observe, for instance, how the diagonal echoed the lines in the pieces hung on the walls, and interacted with the two concrete balls, each paired with a nylon exercise jacket, that made up Problem (0) and Problem (1). The tennis court brought the whole

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