Los Angeles

View of “Postcommodity,” 2020. Both works: untitled, 2019.

View of “Postcommodity,” 2020. Both works: untitled, 2019.



For “Some Reach While Others Clap,” Postcommodity took LAX-ART’s structures, both physical and organizational, as its material. Near the entrance, two of the building’s load-bearing H beams had been painted (or, in the parlance of custom-car culture, “candied”) in glittering tones of interlocking shapes, one in teals and blues and the other in vibrant pinks and reds. To make this work, the collective (currently comprised of Cristóbal Martínez and Kade L. Twist) enlisted Edgar Hernandez, president of Starlite Rod & Kustom, an autobody shop in Los Angeles renowned in magazines such as the now-defunct Rod & Custom for its ornate and precise painting and bodywork.

Modest in scale, Postcommodity’s gesture was grand in commitment: The H beams’ transformation is meant to be permanent, outlasting the exhibition. Resting on the floor nearby were two pairs of long sculptural forms. Each was upholstered

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