New York

View of “Fia Backström,” 2017. Photo: Adam Reich.

View of “Fia Backström,” 2017. Photo: Adam Reich.

Fia Backström

Mary Boone Gallery | Chelsea

View of “Fia Backström,” 2017. Photo: Adam Reich.

For her recent exhibition at Mary Boone Gallery, curated by Piper Marshall, Fia Backström put together a group show that used a strange scaffolding of the artist’s own design as its armature. Comprising gray metal dowels coming off a central shaft—something like a towel rack if one had a bathroom big enough to put it in—each of the six custom contraptions sported outstretched arms on which Backström hung photographs. Outfitted with clamps that grabbed the photos and thrust them out into space, the devices had a dynamic quality that might have reminded some viewers of the avant-garde exhibition designs of El Lissitzky. Framed and unframed (some of the prints were simply taped to panes of glass), the photographs came from a diverse assortment of photographers, ranging from the Surrealist war correspondent Lee Miller to the radical nun Sister Corita Kent to contemporary

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