An open book on an angular asymmetrical plinth partially submerged beneath granules of sand: This tableau was the first thing one encountered in Kim Schoen’s “Hawaii,” an exhibition that elsewhere offered the book not as an object but rather as a fantastic, disemboweled placeholder for the printed tome. The paperback on display was one of the hundred that comprise Hawaii (160) (all works 2017), an exquisite editioned artist book featuring texts by Schoen, Sarah Lehrer-Graiwer, and Jan Tumlir, interleaved with the images on view in the present context and orphan “pages without books” recovered from the Argosy Book Store in New York. It was installed in the gallery’s antechamber alongside The Finale (Das Finale), a glossy C-print that formally corresponded to the photographs of blankshollow cardboard boxes intended to be viewed as real bookshanging in the main room
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