For Kristina Kite’s inaugural show, Nancy Lupo crafted a sprawling tapestry, whose distinct sections of clustered disposable cutlery, bound together with dental floss and intermittently studded with various foodstuffs and trinkets, were meant to represent the four seasons. The gallery space, formerly an artist’s studio, features an optically arresting mosaic of black-and-white and terrazzo tiles that predates Kite’s arrival. The architecture granted Lupo’s floor-bound arrangement an additional layer of complexity, providing a room-scale ground to the imposing swaths that visually warped the woven lattices when spied in the spaces between their mesh. Employing a framing strategy similar to that of her 2016 show at New York’s Swiss Institute, the artist gathered and sorted items thematically. Her checklist reveals a veritable laundry list of objects grouped together: The work in
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