ANTONI MUNTADAS
Warning, 2006
Piezo inkjet fine art print on Fotopapier, printed on an Epson 9800 with K-8 inks
27 1/2 x 39 1/4 in., No. 12 from an edition of 12

RICHARD HAMILTON
Kent State, 1970
Screenprint from 13 stencils on Schoeller Durer paper
26 1/2 x 34 1/4 in., No. 3313 from an edition of 5000

HEIDE FASNACHT
London Blitz III, 2010
Mixed media
60 x 90 in.

DENNIS ADAMS
Vanity for MAKE DOWN II, 2005-2007
Aluminum, incandescent light fixtures, LCD screen and DVD player
Single channel video, 23 minutes, continuous loop, edition of 5, 30 x 40 x 8 in.
View More

DENNIS ADAMS
Lullaby, 2004
Vinyl record weighted with steel plate to retard the speed of a turntable
30 x x40 x 8 in., AP I/II, edition of 10
View More

CHARLES GAINES
String Theory: Rewriting Bataille #9, 2011
Graphite on paper, 76 x 55 in.


Each of the works in MIND THE GAP operates between and within signs in order to discover, tease out, and make manifest meaning that is neither obvious nor orthodox. The artists presented here respond to our world with particular intelligence and sensitivity to these gaps. It is in their natures to be radical, and each questions and provokes in their own way.

DENNIS ADAMS
JOSEPH BEUYS
FERNANDO BRYCE
HEIDE FASNACHT
CHARLES GAINES
HANS HAACKE
RICHARD HAMILTON
ALFREDO JAAR
MARK LOMBARDI
ANTONI MUNTADAS
WALID RAAD

The title and spirit of the exhibition take their cue from Lise Patt's description of W.G. Sebald:

If there is a Sebaldian method, in Austerlitz we are given its opening line: "mind the gap" between words, between and in images and text, but most significantly, mind the gaps in (not only between) signs. Look at the spaces between seeing and not seeing (where you'll catch a glimpse of "the phantom traces created by the sluggish eye"). Notice the gaps between cards being dealt of pages of a book flipping by. Don't turn away from the visual magma, after-images that "leak" out from their moving sides. Pay attention to the momentary arrest of language required by a period, a comma, an "aside." Don't ignore the "whispered" secrets of the last spoken syllable hanging in the air, or the last written word of a paragraph stranded on its own line. Study those photographs created in slips of the shutter or captured in concert with bodily sighs. These are the gaps that open the way to the production of thought itself, to awaking, not anesthetizing, the creative mind.

Lise Patt, "What I Know for Sure," in Searching for Sebald: Photography after W.G. Sebald (Los Angeles: Institute of Cultural Inquiry, 2007), pp. 81-82.

Please call Douglas Walla or Jeanne Marie Wasilik with requests at 212.365.9500.
Gallery hours are Tuesdays through Saturdays from 10 am to 6 pm.