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View of “Robert Grosvenor,” 2017. From left: Untitled, 1989–90; untitled adjunct. Photo: Tom Van Eynde.

Robert Grosvenor

The Renaissance Society

View of “Robert Grosvenor,” 2017. From left: Untitled, 1989–90; untitled adjunct. Photo: Tom Van Eynde.

In a gutsy move for both artist and institution, Robert Grosvenor’s first museum exhibition in more than a decade consisted of a single work—and one created almost thirty years ago. Entering the exhibition space through a small vestibule, one immediately came face-to-face with Untitled, 1989–90, an enigmatic construction sitting, sphinxlike, in the Renaissance Society’s dramatically vaulted gallery. Two parallel walls of silver-painted cinder blocks, each six units high, were positioned directly on the gallery’s mottled gray linoleum floor. Extending from the leftward end of each wall was a single row of three similarly painted blocks laid end-to-end, their interior cavities filled with cement. A large sheet of weathered corrugated steel rested atop the walls, spanning the approximately twelve feet between them. A rectangular opening in the makeshift roof was covered by a

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