new-york

View of “Adriana Lara,” 2017. From left: Interesting Theory #57, 2017; The Hip Recycler/The Poor Collector 2, 2017; The Hip Recycler/ The Poor Collector 3, 2017. Photo: Farzad Owrang.

Adriana Lara

Greenspon

View of “Adriana Lara,” 2017. From left: Interesting Theory #57, 2017; The Hip Recycler/The Poor Collector 2, 2017; The Hip Recycler/ The Poor Collector 3, 2017. Photo: Farzad Owrang.

CARBON; FIRE; GAS; NOISE; SILENCE; PLASTIC; DIET COKE; DEBRIS; PRODUCT; ALLUMINUM [sic]; INFORMATION; COPY; MARKETING; TRASH; VOICES; BURPS; RECORDINGS; RADIO; CC; FORM-EXFORM; THEORIES; POST-PUNK-POST-PRODUCT; STRATEGIC UNPREDICTABILITY; BORDER-MEXICO-U.S. In the lead-up to her third solo exhibition at Greenspon, Mexico City-based Adriana Lara supplied this dizzying end-times vocab list to half a dozen writers as fuel for a series of original conspiracy theories, making the (suitably paranoid) results available in the gallery as simple printed handouts. As well as providing rich inspiration, the list also functions as a useful summation of the artist’s current obsessions, which found heterogeneous form here in a suite of assemblages, paintings, and sculptures collectively—and ominously—titled “The Future.”

Theories, conspiracy and otherwise, are a cornerstone of Lara’s

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