New York

View of “Ger van Elk,” 2019. On wall, from left: Sandwich Study ‘Tombe’ (C de X), 1994; Cloudy Conscience (C de X), 1994; Los Angeles Freeway Flyer, 1973–2003. On floor: Camping Art II, 1968. Photo: Max Yawney.

Ger van Elk

GRIMM | New York

The art of Dutch Conceptualist Ger van Elk (1941–2014) arrived stateside for a solo outing, the artist’s first in America since the dealer Marian Goodman, organizer of fellow jokester Marcel Broodthaers’s inaugural US exhibition, showed his work back in 1986. Though the two men share many poetic and intellectual concerns—most notably an affinity for Duchampian wit—Van Elk’s exploration of the life of images centers on the photograph, which he called his “faithful friend and basis.” In order to reintroduce Americans to Van Elk in advance of a 2021 retrospective at Amsterdam’s Stedelijk Museum, Grimm Gallery, itself a Dutch enterprise, played host to a wide-ranging selection of works from his decades-long career, via painting, photography, sculpture, video, and more.

A Piece for Increased Security, 1986, conjured the artist’s absence. Suspended between the ceiling and the floor via linen and

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