View of “Sam Pulitzer and Peter Wächtler,” 2016–17. Photo: Jeff McLane.

Sam Pulitzer and Peter Wächtler


View of “Sam Pulitzer and Peter Wächtler,” 2016–17. Photo: Jeff McLane.

Post-truth, post-irony—post-exhaustion from such prefix-laden terms—it was tricky to decipher the intentions of Peter Wächtler and Sam Pulitzer in this coupling of both artists and their respective galleries, Reena Spaulings Fine Art (of New York) and House of Gaga (of Mexico City). Twenty-two carefully rendered colored-pencil drawings by Pulitzer were clipped to a quartet of flimsy wire-mesh retail display racks in the center of the main gallery of the two venues’ shared Los Angeles space. Scattered throughout the room on waist-high plinths sat five of Wächtler’s largish glass starfish (from his series “I Don’t Want to Live,” all works 2016); five sizable pastel drawings of volcanoes on mostly monochrome grounds (“I Don’t Want to Die”) erupted on the surrounding walls, joined by other works on paper by the artist, including a monoprint of a shamrock (titled, in deadpan

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