TRANSGRESSIONS IN THE WHITE CUBE: TERRITORIAL MAPPINGS BENNINGTON COLLEGE SUZANNE LEMBERG USDAN GALLERY

TRANSGRESSIONS IN THE WHITE CUBE: TERRITORIAL MAPPINGS

GENERAL IDEA CARY LEIBOWITZ/CANDYASS JESSICA STOCKHOLDER SEAN LANDERS FRED WILSON JON TOWER FELIX GONZALEZ-TORRES RENEE GREEN PAULA HAYES MIKE KELLEY RIRKRIT TIRAVANIJA JULIA SCHER BOB BRAINE/MARK DION/ KATE ERICSON & ALEXIS ROCKMAN (A COLLABORATIVE PROJECT) MEL ZIEGLER

ORGANIZED BY JOSHUA DECTER

NOVEMBER 17 - DECEMBER 16, 1992 Mark Dion: Upper West Side Plant Project, 1992 , collection of vegetation from 110-111 th Street, Alexis Rockman: Concrete Jungle II, 1992, oil on wood , 96" x 64". Courtesy Jay Gorney Modern New York City, dimensions variable . Courtesy American Fine Arts , Co. Art . Photo: Oren Slor TRANSGRESSIONS IN THE WHITE CUBE: TERRITORIAL MAPPINGS Joshua Deeter

From the avant-garde aspects of Russian Con- movements at the early structivism; Schwitters's part of the 20th century to Merzbau project; Dada the present moment, a events; proponents of the diverse genealogy of Fluxus sensibility; Yves artists has approached the Klein; Vito Acconci, context of the gallery or Michael Asher, Lawrence museum space as a "site" Weiner and other so-called in which to conduct Conceptual artists; the analyses focused upon the site-oriented elements of ideological and historical Minimalist and Post- conditions of the cultural Minimalist work; or other institution (i.e., "institu- examples - have utilized tional critique"), de-code methods of installation the architectural attributes (consciously site-specific of a particular edifice, in emphasis) to suggest expand the limits of that the meaning of art formal(ist) investigations in production is always the traditional media of constructed in relation to painting and sculpture, - but never absolutely transform the gallery/ determined by - context museum space into an (i.e., the formal/structural environment that evokes conditions of a specific the structural characteris- space, its social function, tics of other social do- etc.). mains, or develop an arena for the enactment of And while the institutional performance - and/or site of exhibition has come theater-related activities. under repeated gestures of analysis and critique - Stated differently, it is from Broodthaers to evident that the supposed Buren, and Haacke to Bob Braine: Roadkill Woodchuck, Eastern Deciduous Woodland, 1992, black and white photo- neutrality of the gallery or Lawler - it has neverthe- graphs, 8" x 10" and 3 1/2x 5" . Courtesy the artist. institutional space - the less retained a status as Modernist "white cube" privileged, if not conceived of as little more sanctioned, domain within than a container for which to contest the Fred Wilson: Panta Rhei (A Gallery of Ancient and Classical Art), 1992 (detail), mixed media autonomous art objects- installation, dimensions variable. Courtesy Metro Pictures. Photo: Ellen Page Wilson . authority of so-called has been challenged "dominant" cultural norms, throughout this century. A values, and power rela- legacy of historical prac- tions. Following the tices - whether one cites familiar if binding logic of vanguardism, the (in- paradoxical bind is invari- thropology, and history- thereby re-contextualizing stitutionalized) site of ably courted, tested and organized through the an outside territorial exhibition has similarly re-played. ''Transgressions logic of the museum investigation. Dion has demonstrated its capacity in the White Cube: Territo- conceived as archive and also been collaborating to accommodate even the rial Mappings" presents bureaucratic system of with painter Alexis most (apparently) subver- the work of a diverse group (re)presentation - are Rockman and photo- sive of artistic desires - of contemporary artists critically re-deployed in the grapher Bob Braine on a e.g., overturning the who utilize the context of work of artists such as continuous project entitled 'traditional" protocol of the gallery or institutional Mark Dion, Renee Green, "Concrete Jungle," thus visual art language and space to construct new Paula Hayes, and Fred broadening the area of criteria, shocking the territories of meaning in Wilson. Dion, whose environmental scrutiny to putative audience with relation to issues concern- earlier work addressed the incorporate traditionally outrageous acts of taboo- ing politics, cultural iden- ways in which art history segregated artistic media. transgression. Paradoxi- tity, race, the environment, undergoes continuous Rockman's sensuous cally, the artist who seeks religion, sexual identity, re-construction as a result paintings have, since the to critically analyze - or the de- and re-construction of the manipulative (and 1980s, utilized a represen- theatrically debunk - that of formal languages in the fictionalizing) procedures tational language to which is identified as the visual arts, modes of social of art restoration, has since produce subtly disturbing "dominant" (by some control, ethnicity, etc. the late 1980s focused transformations of tradi- magic consensus, one Employing a wide range of upon environmental tional systems of zoologi- assumes) in the visual arts conceptual methods and questions - specifically, cal and botanical classifi- or popular culture at a formal strategies, the the emergence of global cation, thereby creating given moment must artists do seem to share an eco-crisis. Appropriating what might be described already have been granted abiding concern with the certain formal and concep- as a "post-scientific significant permissions construction of languages tual methods from biologi- surrealism." Braine's (permissions to trans- and structures designed to cal science (e.g., zoology, ultra-straightforward gress) by that very system suggest a "re-mapping" of botany), Dion constructs documentary photos of of cultural legitimation (and the external cultural gallery-specific mise-en- ubiquitous road-kills are representation) under landscape (or the "internal" scenes and tableaux that meant to signal that the scrutiny. landscape of psycho- utilize systems of classifi- already precarious balance social-sexual identity). cation to reference a range between the natural and Notions and strategies of Renee Green : Vista Vision: Landscape of Desire, 1991, installation with sound, dimensions variable. While many of the artists in of environmental prob- cultural domains has critical infiltration have Courtesy Pat Hearn Gallery. this exhibition owe a debt lems; in a strategically reached a point of crisis. functioned, at least since to the legacy of Conceptual reciprocal manner, he has Together, these three the full emergence of practices (General Idea, executed projects in artists have developed an "institutional critique" emerging in the late 1960s, remote regions such as the intriguing approach to how practices during the 1960s in fact comprises a part of Central American country the collaborative method in Europe and the United this legacy), they have all of Belize, there addressing can be employed as a States, as adequate managed to articulate • the area's specific ecologi- means to integrate related rejoinders to such artistic, distinct, yet related cal conditions from the concerns and to thereby cultural and ideological frameworks of working and unique perspective of a establish a more complex paradoxes. Indeed, territories of focus. hybrid artist/specialist. and layered language. methods of critical infiltra- Often, the artifacts of such Paula Hayes: Within the Icy Fruit, 1992, mixed media installation, dimensions variable. Courtesy tion are always made Conventional disciplinary working expeditions are Fawbush Gallery. Photo: Tom Warren. Fred Wilson's primary effectual through nuances models of ecology, ethnol- integrated back into the focus in recent years has of complicity, and so the ogy, archaeology, an- gallery-specific site, been to investigate- and poke critical fun at - the committed both her writing standard bureaucratic and art production to the de-constructing history everyday life are arranged presentational systems exploration of how per- and memory (as an index so as to suggest a kind of utilized by museums to sonal, cultural, social and of autobiographical invest- theatrical allegory of the construct narratives of racial narratives are ment) to produce a new mundane; often, these social history and ethnol- constructed through the narrative language alluding arrangements allude to the ogy. For Wilson, the complex history of the to the contradictory dimen- artist's self-inquiry as to conventional American West's colonialist and sions of identity. Green the relationship between museum has adopted neo-colonialist ideologies often presents an accumu- historical characterizations what might be described and institutions. For lation of materials and of womanhood (e.g., the as a Euro-centric model of Green, it seems as if the information that make mythos of witches) and history, wherein the authority of institutional critical reference to con- contemporary (self)defini- specific social and racial "knowledge" can be ventional systems of tions. components of the African- productively challenged- display, and she expects American experience (and or perhaps de-coded - in the viewer to engage in the Since the mid-1980s, the past) is either almost relation to subjective re-construction of mean- collaborative team of Kate completely elided (produc- memory as a mode of ing, rather than passively Ericson and Mel Ziegler ing a kind of enforced critical re-collection. Green receiving the authority of has been involved with institutionalization of has focused upon the yet another master narra- devising frameworks for socio-cultural disappear- precarious relationship tive. the literal and symbolic ance or invisibility), or between the histories and (re)mapping of diverse perversely substituted for experiences of people of Reflecting an inter-mix of architectural edifices and (in a manner evocative of color and whites within horticultural study and an geographic locations. Freud's notion of compen- both the American and investment in the codes of Their earlier projects satory substitution, or what European contexts, folklore and mythology, investigated the architec- could also be called suggesting that patterns of Paula Hayes' mixed-media tural idioms (i.e., the displaced guilt) by the racial objectification are installations and drawings vernacular) of particular so-called "Primitive" part of a long trajectory of suggest a preoccupation American urban and collections of African and imposed racial hierarchies with the natural (external) suburban communities· "other" non-Western and discriminatory value and spiritual/psychological Ericson and Ziegler would peoples. Wilson 's biting systems. Employing a kind (internal) environment - effect a "collaboration" with yet witty commentary upon of counter-anthropological and how these two do- homeowners so as to this unfortunate state of 1989 , seed bags , sandblasted plexiglass , method of organization othermains immaterial)(one material, and the JHearn lia s h Be Gentle, 1991 , mixed media installation , dimensions variable . Courtesy Pat facilitate specific (and affairs is generally on and presentation, Green's agreed-upon) interven- target; his museum-spe- work offers a unique experiential models are tions within - or around- cific interventions, gallery balance of empirical fundamentally reciprocal. the traditionally private specific installations and historical analysis and A professional horticul- territory of the home. Their vitrine displays suggest an subjective re-inscription, turalist, Hayes has culti- interests would begin to effective strategy of critical so that we understand that vated a scientific relation- gravitate towards two infiltration whereby "artifac- her "identity" as an African- ship to the botanical distinct contexts - the tual" evidence is re-shuf- American woman is not a environment, yet her relatively insular site of the fled to engender new fixed or stable "construc- investment in this territory gallery/cultural institution, histories. tion ." Green's elaborately moves beyond the empiri- and the emphatically staged mise-en-scenes cal, rationalist precincts of public space. Generally In a somewhat related underscore the artist's institutionalized scientific speaking, they are con- way, Renee Green has interest in the possibility of knowledge. In her tab- cerned with "excavating" leaux, artifacts from the repressed histories of specific structures and of institutional control. compelled to intervene in invitesthe viewer to places, and often utilize Alluding to the way in - or at the very least, participate in the activity of novel techniques of which the individual has critically understand-the eating, which becomes "mapping" to uncover the become the target of technological environs. indicative of a symbolic hidden narratives; their strategies of social control participation in the activity gallery-specific projects in late-industrial ("informa- Rirkrit Tiravanija and Felix of cultural production, so often function as veritable tion") society, Scher Gonzalez-Torres offer that Tiravanija and the "non-sites" - schematic proposes that the only way distinct types of territorial public become both indices which economically to effectively challenge or mappings. For Tiravanija, subjects and objects - display the artifactual counteract the alienating the activity of art production performers and spectators evidence of work done in effects of a disciplinary itself becomes essentially -within the hybrid cultural another, specifically administration of society interchangeable with (or a situation. non-art, context. In a (to evoke Michel Foucault) substitutional sign for) the sense, they have de- is to literally re-take some cultural ritual of food The model of participatory veloped a method that degree of control over preparation and cooking. cultural activity and allows for a sophisticated those very instruments Utilizing culinary methods production (derived from cross-mapping (or cross- and techniques to which absorbed through expo- various utopian-inflected indexing) of disparate we have become unwit- sure to his socio-cultural artistic movements of the social/cultural contexts, tingly subjected. (On a heritage, (i.e., a passing 20th century) finds a norms, idioms, and mean- social level, we are down of traditional recipes strangely compelling ings. Adapting themselves deemed "subjects" not through the matrix of the synthesis with the formal to the everyday protocol of necessarily in terms of our family), the artist is able to attributes of a "conceptual a specific social milieu, so-called "individuality," construct a kind of reflexive minimalism" in the work of Ericson and Ziegler utilize but in terms of how our anthropological environ- Felix Gonzalez-Torres. their "license" as artists to very bodies become ment wherein the art Maintaining a long-term participate in the com- subjected to an often audience is exposed to the commitment to the monplace practices of that invisible regime of social usually hidden, alienated pedagogic potential of art place. Their installations control.) Having at one and mystified realm of production (Gonzalez- become physical and point formed her own so-called "exofic" cooking. Torres was one of the iconographic evidence of security systems company, Tiravanija sets up a founders of Group such moments of social Scher continues to turn provisional kitchen to Material), the artist's integration and participa- Rirkrit Tiravanija Untitled (Free) , 1992, mixed media installation, dimensions variable. Courtesy such technologies against prepare curries and rice, corner and stack pieces exposing the constituent Feli_x Gonzalez-Torres: Untitled(Loverboys), 1991, 355 lbs . of silver-wrapped candies dimensions occupy a territory of the tion. themselves - to expose vana e. nstallation view Whitney Biennial 1991 . Courtesy Andrea Rosen Gallery Collection the machinery behind the ingredients and proced- Thomas Ammann , Zurich. gallery or institutional Scrutinizing the precincts camera, to contaminate ures for all to witness. In space on a temporary of social power, authority the easy flow of information this gesture, the artist basis; their constituent and domination, Julia in this world of ecstatic seems to de-mystify him- parts - sheets of paper Scher has re-appropriated computer communication. self and his "cultural other- imprinted with a linguistic the technological instru- In other words, to re-install ness" by laying bare the phrase, or a pile of fortune ments of video surveillance the viability of individual mundane "everydayness" cookies- are meant to be and the apparatus of subjectivity as a force of of the cooking activity. taken away by the viewer computer-based systems negation or contestation . Tiravanija establishes a retained as the artifactual of communication and Her installations become territory within the gallery/ remains (or, perhaps, the information to critically environmental models for institutional space which memento mori) of the investigate - or subver- the exploration of this upsets the normal set of post-autonomous work of sively infiltrate-the realm possibility, as the viewer is cultural relations; he art. Furthermore, the viewer-turned-participant of analytic, rational empiri- vanguard culture. During territory of symbolic becomes integral to the cism. In a sense, Tower's the 1980s, General Idea resonance wherein the structure of the artwork practice becomes a began to produce works visual/verbal sign assumes itself, and thus becomes codified allegorical map of which commented upon an incontrovertible an agent of meaning the artist's own internal the exploding commodifi- authority. construction both within struggle to reconcile these cation of the art world (in and beyond the paramet- two dominant cultural other words, they began to Scatological, perversely ers of the sanctioned tendencies, and his make psuedo-paintings) puerile, unapologetically cultural-institutional space. projects have often utilized that still evoked the naughty, and aesthetically In a sense, we take away the framework of the body theatrical masquerade of transgressive, Mike the material surrogate for - the corporeal vessel - the collaborative trio's Kelley's work reflects the artist - which is in order to suggest the way "public" persona. More an unabashed investment occasionally edible!! in which individuals are recently, they turned their in the underground, always "penetrated" by attention to the AIDS milieu of rebellious Amer- Jon Tower's practice these ideological trajec- epidemic, and made the ican teenage culture. suggests a keen interest in tories. rather bold gesture of Throughout the 1980s, Los investigating the tradition- appropriating the design Angeles-based Kelley ally antithetical domains of General Idea, the col- and color scheme of engaged in music and science and religion as laborative group from Robert Indiana's LOVE performance activities, these institutions of belief Canada (AA Bronson, emblem, replacing this his visual art indicating and knowledge each offer Jorge Zontal, and Felix word with the medical an almost obsessive competing models by Partz), began producing acronym for 'acquired fixation upon bad-boy which we might understand work in the late 1960s, immune deficiency syn- iconoclastic gestures. the fundamental questions incorporating elements drome' - AIDS. A contro- Whether it is manifested in of our existence. For from diverse media: film, versial strategy perhaps, the material form of Tower, this competition photography, theater, but it also operated to obnoxious banners, occurs through the performance, video, effectively disseminate the hand-made stuffed animal framework of ideological music, etc. General Idea acronym on a wide basis ensembles, or the cover and institutional systems, became a mask behind -to allow it to slip into the art for the most recent and his work attempts to which the three artists cultural stream/system like Sonic Youth album, reveal the extent to which could function in a variety an agent of viral contami- Kelley's language invari- nation and communication ably evokes the sense of the institutions of religion Jon Tower: Human Breath Collection, 1992 (detail), wood, paper, vinylTedlar (polyvinyl fluoride), of theatrical guises; ''The General Idea: Message to the Public (AIDS, 1989), 1989, Spectacolor lightboard , Times Square , and science (both in nickel-brass, Human breath (nitrogen, oxygen, carbon dioxide, water vapor), 8 1/8 x 13 3/4" x 1984 Miss General Idea through public posters, New York. Presented by The Public Art Fund, Inc., New York City. Photo: Timothy P. Carr. an artist whose brilliance historical and contempo- 13 3/4" Courtesy American Fine Arts, Co. Pageant" and "The 1984 subway advertisements, lies in an ability to momen- rary terms) operate accord- Miss General Idea Pavil- wallpaper, stamps, tarily distract us from a ing to quite similar logics. lion" were titles that sculpture, painting, etc. dark psychological under- Each discipline seeks to referred to an elaborate General Idea sought to current of anger by persuade the individual to framing structure for the acclimate the public to the generating a compensa- maintain faith in a particular group's work. Within this acronym so that it would tory surplus of visual understanding of life framework, General Idea eventually assume the entertainment. He makes through rhetoric and constructed a complex status of a cultural icon us laugh momentarily, and dogma - the former language of iconographic alluding to a specific health forces us to then reflect through the theological codes which often crisis. The power of the upon the strange psyche discourse of spiritual suggested a mediation acronym-turned-emblem that must have produced redemption, the latter between realms of popular is that it can transform a this grungy stuff!! Here, we according to the principles culture and experimental specific space into a are offered the territorial pissings" of adolescent and wickedly (and adoles- projects, Leibowitz/Can- Russian Constructivism, genius. cently) funny cartoons dyass has invited other Ab-Ex, Post-Minimalism produce an ambiguous artists to set up shop and among other possible It would not be entirely inter-penetration of so- present their "wares" as if sources. In both her untenable to suggest that called fact and fiction . In for a county fair. The large-scale installations Kelley's influence might Landers' work, these two infectious spirit of this and scaled-down object- also extend to younger categories are virtually approach is always under- oriented structures, there artists such as Sean interchangeable and cut by irony and pathos- is a consistent, if not Landers and Cary reciprocal. as if Leibowitz/Candyass systematic, dialogue Leibowitz/Candyass. For were reminding us that the established between the Landers, art making For Leibowitz, the Can- apparent utopia of subver- site and the internal means the orchestration of dyass "character" allows sive behavior and anti- formal logic of the built a fictional guise, a theatri- him to operate vicariously "high art" sentiments is a structure. cal masquerade that through a clown- or kind of grand substitute Stockholder's explicitly serves as a mediator jester-like figure who gratification for - and space-specific projects between artist and public somehow mediates the temporary dispensation indicate a desire to allow - between private identity artist's relationship to the from - that which is the overall structural and public persona. public within the car- fundamentally missing contours of the "expanded Employing a self-con- nivalesque environment of from his/our lives. In a sculpture" to subtly echo sciously transgressive performances. Clearly, the sense, his works and elements of the pre-deter- intermix of various media Candyass figure repre- activities reveal a desire to mined coordinates of the such as sculpture, video, sents the more de-subli- use the territory of the architectural domain, so cartoon-style drawings mated dimension of contemporary art world as that the syntax of the work and hand-written narra- Leibowitz, although one a means to establish a always seems to maintain tives, Landers produces a never really knows! sense of real community of a situational contingency. language which appears to Leibowitz/Candyass is compatible value systems Even in the smaller pieces, be directly self-referential, primarily interested in - a desire, ultimately, to Stockholder has cleverly autobiographical, confes- embracing the viewing move beyond a sense of devised featu res that sional; yet Landers is coy. audience as a part of his alienation. reinforce the dialectic While his obsessive, social, cultural and sexual between architectural apparently diaristic writings milieu . His installations are In conclusion, I would like edifice and quasi-au- and spontaneous, extem- invariably comprised of to discuss the work of tonomous, hyper-extended poraneous videotaped provisional artworks - Jessica Stockholder in sculpture (for example, the utterance and muttering signs, posters, rugs, relation to the various often literal "connection" sessions offer the superfi- plates, and other everyday notions of 'territorial between floor-bound cial signs of a veritably objects are transformed by mapping" addressed at the object and lower wall instinctual mode of self- the inscription of playfully beginning of this essay. quadrant). In the final portraiture, it becomes insulting, sophomoric and Stockholder's language is analysis, it is tenable to evident that Landers' self-deprecating phrases a hybrid of formal codes propose that Stockholder's sophomoric self-presenta- that suggest Candyass's and conceptual methods Sean Landers: Cartoon (Freshman, Sophmore, Junior, Senior), 1992, ink on paper, one of four work simultaneously de- tion must, to some extent, tree-for-all sensibility. gleaned from Modernist leaves x Courtesy Andrea Rosen Gallery. and re-constructs its be the product of self-trans- Mike Kelley: Untitled, 1990, felt banner, x Courtesy Metro Pictures . These are participatory traditions of abstract "object-ness" in direct formation - a mask of situations, in which things painting and sculpture; it is relation to the site's performance wherein the are either freely dispensed, possible to detect a architectural frame, written narratives, diaristic or available at extremely fascinating interplay of thereby engendering a entries, calendar notations, low prices; in some oblique references to matrix of territorial plotting. L

Jessica Stockholder: Untitled (#146) , 1991 , plywood , linoleum tiles , aluminum , escalator sleeve , Cary Leibowitz/Candyass: Candyass Carnival, 1991, mixed media installation, dimensions variable. carpets , blue cord , x x 31 " overall Courtesy American Fine Arts , Co . Photo courtesy Courtesy Stux Gallery. BlumHelman . EXHIBITION CHECKLIST

Bob Braine/Mark Dion/Alexis Rockman Renee Green Sean Landers Julia Scher (a collaborative project) VistaVision: Landscape of Desire, 1991 Improbable History, 1992 Danger Dirty Data , 1992 Concrete Jungle, 1992 Mixed media installation with sound One hour color videotape Computer program Dimensions variable (detail:room) Edition of 10 Courtesy Pat Hearn Gallery Bob Braine Courtesy Pat Hearn Gallery Documents: Brooklyn to Bennington 11/14/1992 To Whom It May Concern, 1991 Jessica Stockholder Black & white polaroid prints, 4" x 6" color prints, Paula Hayes Ink on paper, five leaves Untitled (#146), 1991 topographical maps Mr. Cook and Mr. Rife (Replacement}, 1992 11 " x each leaf Plywood, linoleum tiles, escalator sleeve , aluminum, Courtesy Bob Braine Mixed media installation Overall dimensions variable carpets, blue cord Mark Dion Dimensions variable x x 1992 The Desk for the Director of the Queens Museum of Courtesy Fawbush Gallery My Rock Friend, Courtesy American Fine Arts , Co . Natural History, 1992 Ink on paper, five leaves, envelope x each leaf, x 11 envelope Mixed media, dimensions variable. Mike Kelley Rirkrit Tiravanija Courtesy American Fine Arts, Co . Untitled, 1990 Overall dimensions variable Untitled (Here}, 1992 Alexis Rockman Felt banner Mixed media installation Concrete Jungle IV, 1992 Cartoon (Critic: I Like Your Politics) , 1992 x 70" Ink on paper Dimensions variable oil on wood Courtesy 303 Gallery 36" x 84" Untitled, 1990 x Courtesy Jay Gorney Modern Art Felt banner Cartoon (70% Contractor, 30% Artist) , 1992 Jon Tower x Ink on paper Human Breath Collection (excerpt), 1992 Kate Ericson & Mel Ziegler Courtesy Metro Pictures x Wood, paper, vinyl, enamel, Tedlar (polyvinyl Feed and Seed (Heisey Farm}, 1989 fluoride), nickel-brass, Human breath , nitrogen, oxy- Seed bags, sandblasted plexiglass Sean Landers Cartoon (It's O.K. Son), 1992 gen, carbon dioxide, water vapor 71" x 144" overall (34" x 18" each) Cop from South Boston, 1992 Ink on paper 18 works each 8W' x x Courtesy Michael Klein, Inc. Terracotta (from an edition of one terracotta, one x Courtesy American Fine Arts, Co. bronze and one terracotta A.P.), steel General Idea x x Cartoon (Freshman, Sophmore, Junior, Senior), Fred Wilson AIDS, 1992 1992 Addiction Display, 1991 Silkscreen wallpaper C. Everet Coop, 1992 Ink on paper, four leaves Four ceramic copies of pre-Columbian artifacts , 30 Courtesy General Idea Terracotta (from an edition of one terracotta, one x (Freshman), x (Sophmore), articles of cocaine paraphernalia, photograph, labels , bronze and one terracotta A.P.), steel x (Junior) , x (Senior) vitrine Felix Gonzalez-Torres x x Overall dimensions variable x x vitrine , x photograph Untitled (Fortune Cookie Corner}, 1990 Courtesy Andrea Rosen 1991 Courtesy Metro Pictures Approximately 10,000 fortune cookies Bearded Hick, Dimensions variable Terracotta (from an edition of one terracotta, one Cary Leibowitz/Candyass bronze and one terracotta A.P.), steel Courtesy Studio Guenzani, Milano; Candyass 4 Hall Monitor, 1992 Andrea Rosen Gallery x x Mixed media installation Dimensions variable Courtesy Stux Gallery I WOULD LIKE TO THANK BETH HARBOTTLE FOR HER INVALUABLE ASSISTANCE WITH THE ORGANIZATION OF THIS EXHIBITION AND CATALOGUE. THANKS ALSO TO ELIZABETH PELLERIN, JANE AEBERSOLD, THE BENNINGTON GRADUATE ASSISTANTS AND GALLERY CREW. FINALLY, I EXTEND MY THANKS TO THE PARTICIPATING ARTISTS, THEIR GALLERIES AND THE LENDERS TO THE EXHIBITION.

©ESSAY: JOSHUA DECTER 1992 CATALOGUE PUBLISHED BY BENNINGTON COLLEGE BENNINGTON VERMONT IN AN EDITION OF 500. PRINTING: INKSPOT PRESS, BENNINGTON SHIPPING: INDEPENDENT FINE ART SERVICES, RUTLAND

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