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    • XVII

      • Colleen Asper Labor with Rectangle
      • Dushko Petrovich & Roger White Monument Working Strategies LLC: Structuring Creative Freedom
      • Triple Candie Exhibition Preparations
      • Sean Raspet 2GFR24SMEZZ2XMCVI5L8X9Y38ZJ2JD…
      • Owen Kydd Handheld
      • Dan Levenson Notes From Jessica
      • Julia Rommel Easy Tacker
      • Jordan Kantor MAN(ET/DE)GAS
      • Sreshta Rit Premnath The Last Image
      • OJO The Adventures of Nuclear Wad & How He Learned To Stop Dreaming
    • XVI

      • Julia Sherman Re-Claiming Susan B. Anthony
      • Robert Hult Hasidic Street Posters in Brooklyn
      • Runo Lagomarsino Pedro’s Story: An Unsuccessful Transatlantic Traveller
      • John Houck Pine Ridge: An interview with Jim Houck
      • Brian Zegeer Dragoman of Little Syria
      • Sidney Russell Kuna Yala Swag
      • Desirée Holman Outer Spaces: Part I
      • Faith47 The Unexpected Present
      • Carmen Winant Personal Best
      • Philip-Lorca diCorcia Red Bull Snake
    • XV

      • Jessica Green & Tom Griffiths Terra Incognita (A Video Game Folly)
      • Prem Krishnamurthy The People’s Representation: On Staged Graphics in Klaus Wittkugel’s Work
      • Cian O'Day N/A, or On the Dark Stores of Brian Ulrich
      • Yasmeen M. Siddiqui Avatar Gone Analog: Musings on The Bridge Project by Do Ho Suh
      • Emily Larned ARTS 02–2011: The Artist-Created Institution as Art Practice
      • Yoonjai Choi & Ken Meier Interview with Metahaven
      • Aaron Kunin Space and Place in Two Video Installations by Amie Siegel
      • Tom Griffiths Interview with Barbara Griffiths
    • XIV

      • Colleen Asper & Justin Lieberman In Conversation
      • Dushko Petrovich & Roger White Report To The Committee On Periodical Group Exhibitions
      • Ryan Mrozowski & Mike Womack Before-Biennial-After
      • Kay Rosen Waiting for Michael Asher
      • Kate Gilmore Drag
    • XIII

      • Talia Chetrit Van Hanos’s Harlem Studio
      • Mieke Marple The Lives of Objects at The Suburban
      • Laurel Nakadate Island Light
      • C.D. Parker Draw Me a Pie Chart Powerfully
      • Alan Reid Despondent Babysitter
      • Lucy Kim & Leeza Meksin Art Crimes
    • XII

      • Anonymous On Looking at Nature: An Untitled Petition on Crapomimicry
      • Paul Huf Musical Box with a Dancing Ballerina
      • Lance Wakeling Voluntary Sculptures: Photographing the Unmonumental
      • David Kennedy-Cutler Possession Obsession
      • Nine Budde Stopping by at a Friends’ Place
      • Cody Trepte Untitled (Something Clever Here)
    • XI

      • Adam Helms Hirschhorn at Gladstone Gallery
      • David Scanavino Fact or Fiction
      • Jason Tomme The Voodoo of Robert Irwin
      • Kristin Posehn The Rocks of Rocklin
      • Joanne Greenbaum Decorating the Void: On Clay and Dirt on Delight
    • X

      • Jennifer Dudley Interview with Daniel Bozhkov
      • Dushko Petrovich & Roger White Report to the Committee on Decentered Practices
      • Shana Lutker Artists Are Not
      • Steve Cairns & Isla Leaver-Yap Blind Carbon Copy
      • Katarina Burin Rooms No One Lives In
      • Jonathan Bogarin What’s Your Context?
      • Sara Greenberger Rafferty Master of None
    • IX

      • Andrea Hill Fact, Factoid, Factotum
      • Nicholas Weist We’re Interested in Your White Horse
      • Tyler Coburn Ronnie Bass at I-20
      • Allison Kave Doa Aly and Juan William Chavez
      • Gillian Sneed Interview with Adam Pendleton
    • VIII

      • Jacob Hashimoto Interview with Luis Gispert
      • Lilly McElroy Guy Maddin’s Winnipeg
      • Kevin Zucker Thematic Apperception Test
      • Ian Cooper That’s What He Said
      • Colleen Asper Interview with Matt Borruso
    • VII

      • Mieke Marple Interview with Michelle Grabner
      • Farrah Karapetian Reframing Mirrors and Windows
      • Ruby Sky Stiler That’s What She Said
      • Spencer Finch New Zealand Light
      • Dana Frankfort John Walker: Text in/and Painting
      • The Editors Whitney Biennial 2008
    • VI

      • Katie Herzog Bay Area Figurative Language
      • Matt Connors Teignmouth Electron by Tacita Dean
      • Connelly LaMar New Photography 2007 at MOMA
      • Ethan Greenbaum Inside Lights
      • Matthew Lancit Cleaning Magritte’s Pipe
    • V

      • Roger White Jay Heikes at Marianne Boesky
      • Luke Stettner Interview with Michael DeLucia
      • Erin Shirreff Michel Auder: The Feature
      • Jessica Lansdon Interview with Brian Bress
      • Lisha Bai Suzanne Song at Michael Steinberg Fine Art
    • IV

      • Mariah Robertson Conditions in Time
      • Jacob Feige Psychopathia Pastoralis
      • Eric Golo Stone Interview with George Kontos
      • Skyler Brickley Keith Tyson at PaceWildenstein
      • Keith Tyson’s Large Field Array at PaceWildenstein is a single piece of epic proportions being exhibited in New York for the first time. The installation is composed of about 220 modular, mostly cube-like forms arranged in a 14×14-piece grid, like some strange garden with just the right amount of foot room to roam. Large Field Array takes its name from the collection of telescopes in New Mexico, which all focus on a single point in the universe as a way of revealing greater amounts of image-data.

        Keith Tyson, Large Field Array

        Keith Tyson, Large Field Array, 2006

        Entering the installation I found it to be a truly overwhelming experience. It spins, crackles, chimes, and buzzes its way across the reaches of the room and into the brain, where its layout wedges itself somewhere between thoughts of pixels, digital palettes, and chessboards. Its refrain, the timed release of a static machine that builds up enough inertia to periodically electrocute the air, punctuates the minutes that tick by as I wonder what the hell Tyson is up to.

        He travels globally and in time, pinpointing here and hesitating there, allowing me only enough time to shift my attention from one dazzling sculptures to the next. He travels like an Internet surfer does — horizontally — strengthening connections between forms like links on a page, like one with simultaneous access to all possible images. It would be tempting to claim the piece challenges the myth of individuality. Yet one of the remarkable aspects to the exhibition is that Tyson’s style emerges almost in spite of himself. A similar sense of humor pervades the work, as does a recurring interest in food, the body, sports, and decay.

        Large Field Array operates like language, each form locating its meaning in relation to and negation from those forms surrounding it. The melting cube of ice is only the melting cube of ice because it is not the cubic snowman face or the world’s blackest box. Endlessly layered connections cease to silence themselves. They bubble up from the floor or exude steam or spinning detritus. Frequently, subtle references to art history are overwhelmed by loud-mouthed references to pop culture. A silent phonograph endlessly twirls a Bob Dylan record like some hypnotic Duchamp. A few squares away, hand-painted portraits of the Friends starlets gleefully stare out from a giant coffee mug like degraded Oldenburg sculptures squeezed through a Warhol celebrity press.

        The shortcoming of the work rests in its intermittent lack of invention. When the forms work best, they rely on formal play. At their worst, they are psychic forms, those forms most expected — like a giant football, top hat, kettle, and telephone. A manufactured look to most of the parts seems to reference modular consumer (Ikea) furniture or art, and the parts themselves are anything but discreet. However, when a form reads simply as a fabrication of a sketch dashed out by the artist, I looked to the next cube for a boost of invention.

        If there is knowledge to be gained, Tyson seems to say, it lies in the collective, the democracy of the web, the static hum of a planetful of human thoughts and opinions. Not one of us on our own could have guessed how many sculptures line the walls of PaceWildenstein, or how many jellybeans are in the jar. But the average of all our guesses would be the perfect answer to any question asked. Those answers are each a different permutation of the grid of sculptures, like three-dimensional pictograms, rearranged like endless sentences on a field.

        Skyler Brickley is an editor-at-large for The Highlights.

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      • Lumi Tan Curatorial Project with Jo-ey Tang
    • III

      • George Rush Wayne Gonzales at Paula Cooper
      • Jacqueline Cooper Margaret Wall-Romana at Bucheon Gallery
      • Ana Wolovick Robin Rhode at Perry Rubenstein
      • Skyler Brickley Nicholas Krushenick at Marianne Boesky
      • Luke Stettner Peter Young at PS1
      • Ethan Greenbaum Daniel Gordon Interview
    • II

      • Christine Frerichs Rebecca Morris at Karyn Lovegrove Gallery
      • Skyler Brickley Josh Smith at Luhring Augustine
      • Ethan Greenbaum Kristen Baker at Deitch Projects
    • I

      • Mark Barrow On Abstraction
      • Tova Carlin Superstudio
      • Julia Weist Johannes Vanderbeek at Zach Feuer
      • Skyler Brickley Wilhelm Sasnal at Anton Kern
      • Ethan Greenbaum Cement Garden at Marvelli Gallery