New York

Simon Evans™, The World Again, 2017, mixed media, 29 × 41".

Simon Evans™, The World Again, 2017, mixed media, 29 × 41".

Simon Evans™

James Cohan | Lower East Side

IMHO, a lot of text-based art is lame. It’s a field thick with glib one-liners and cynical quips, stilted poetry and borrowed—or, worse, homespun and failed—profundities. Neither edifying nor invigorating, such efforts elicit, at best, dumb chuckles and dulcifying consensus. Not so, Simon EvansTM (the faux-corporate moniker of the collaborative couple Simon Evans and Sarah Lannan). Sure, their work contains some of the above, but in such abundance, and organized with such wit and complexity—roping in all manner of quotidian and illustrative material—that, with rare exception, each piece constitutes a highly engaging galaxy of conceptual interaction. Gracing the entryway to James Cohan’s Chinatown space and hanging adjacent to a dividing wall bearing the show’s poetic title, “Passing through the gates of irresponsibility,” was the duo’s scene-setting Wallpaper, 2015, a roughly three-foot-wide

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