Just as any exhibition held every two years can be called a biennial, a piece of fabric hung on a wall, with or without paint on it, can plausibly be called a painting. And yet, just as the idea of a biennial carries a lot of baggage, so does the notion of painting, and the oeuvre of Michael Krebber constantly works at posing uncomfortable questions about it.
This was the second and smaller iteration of this New York–based German artist’s survey, “The Living Wedge,” which originated at the Museu de Arte Contemporânea de Serralves in Porto, Portugal, curated by João Ribas and Valérie Knoll. The fifty-six pieces shown here, dating from 1986 through 2016, installed in seven galleries, included early figurative drawings, modified readymades, and neo-expressionistic paintings; Krebber’s later work tends toward abstraction. Two groups of works were displayed in particular depth: On view
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