Beacon

View of “Charlotte Posenenske,” 2019.

View of “Charlotte Posenenske,” 2019.

Charlotte Posenenske

Dia:Beacon

Commanding one of the yawning depots of Dia:Beacon—a Nabisco box-printing factory turned postindustrial culture palace—the hollow sheet-metal and cardboard polyhedrons of Charlotte Posenenske’s Vierkantrohre Serie D (Square Tubes Series D) and Vierkantrohre Serie DW (Square Tubes Series DW) appeared to be fossils of use value. Designed in 1967 as the German artist was beginning to receive international recognition alongside proponents of American Minimalism, these groupings of unwieldy modular units were made to be manipulated and recombined by collaborating viewer participants. Produced in unsigned, unlimited editions and priced at cost, Serie D and Serie DW deliberately courted the utilitarian aesthetics of industry and infrastructure. The latter work’s corrugated cardboard surfaces evoke the debris of American consumerism, ever more ubiquitous in the Amazon age, while the galvanized-steel

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