New York

View of “Karin Schneider,” 2016. Photo: John Berens.

View of “Karin Schneider,” 2016. Photo: John Berens.

Karin Schneider

Lévy Gorvy | New York

View of “Karin Schneider,” 2016. Photo: John Berens.

When will we exhaust the black square? When will it cease to be a beacon of the radical avant-garde or a buoy of perceptual purity or a veiled wink at what came before or the face that launched a thousand quips? In Karin Schneider’s elegant and misleading show—elegant in its sparseness; misleading in that despite this sparseness it was full of material, including paintings, wall diagrams and drawings, film, sculpture, and writing extending over the two floors of Dominique Lévy, the pages of this magazine, a series of related performances, and a dense catalogue—the black square was a black hole for metaphors of black squares. Everything was consumed into it: representation, current world events, late capitalism, the anxiety of influence, gender trouble, the last century of philosophical and political theory, countries, poetry, semiotics. It’s a powerful condition, but

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