In the autumn of 2016, Omer Fast had a solo exhibition in his adopted hometown of Berlin. Mounted by the Martin-Gropius-Bau, the show included a number of the elegantly perplexing, serious-minded video and film works the artist has made across his fifteen-year practice, including his newest, August, 2016, an impressionistic elegy for the early-twentieth-century German portrait photographer August Sander. In something of a departure for Fast, the show also featured a series of spatial interventions, with three of the show’s seven works set in installation environments meant to simulate transitional spacesthe waiting rooms of a doctor’s office, an airport lounge, and a German immigration agency.
This fall, Fast brought August to the United States, showing it alongside his video Looking Pretty for God (After G.W.), 2008, at James Cohan. The location of the exhibitionheld
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