Thornton Dial, Looking for the Right Spot, 2004, metal, clothing, oil, enamel and epoxy on canvas, 72 × 84 × 3".

Beverly Buchanan, Thornton Dial, and the Gee’s Bend Quiltmakers

Andrew Edlin Gallery

Contingency, a complex relationship to the body, and an abiding respect for the homespun were the threads that wove together this neatly conceived exhibition. The artists here—all African American and natives of the American South—served as pendants to one another, advancing a shared understanding of the artwork as mediated through memory and use.

Beverly Buchanan (1940–2015) began making her “shack” sculptures in 1986, nearly a decade after moving to Macon, Georgia, from Manhattan, where she was a critical (if critically underrecognized) figure in the city’s post-Minimal art scene. Cobbled together from small pieces of foam, copper, and reclaimed wood, these modestly sized sculptures elaborate the characteristic inconclusiveness of late-1970s process-based art, existing as half-finished things, ready for further assembly, or left to fall apart. Their means of construction—staples

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