Instead open-ended phrases were handwritten on the wall in the place of titles such as “It’s been done before,” “this reminds me of…” parodying trite phrases people throw out when evaluating art and also giving new meaning to them when placed next to David Hammons’ work.
Hammons’ tarp series dominated the bulk of the two gallery spaces and underscored the exhibition’s theme of art world criticism. Initially he painted abstract expression paintings in the likes of William de Kooning, whose work is of high value in the art market, and cloaked tarpaulin, brown paper, patchwork fabrics, and clear plastic wrap over the paintings. The covering materials are reminiscent of freight shipping materials, yet draped over the paintings like Grecian robes, allowing only slips of the paintings to show through. Often placed on the floor, they are intentionally presented as though the exhibition hanging is in process, questioning the authority of curation and “finished” presentation in these spaces.
By including artworks by artists as versatile as Miles Davis, William de Kooning, and Agnes Martin, the exhibition challenges notions of authorship and authority in art. An expansive exquisite corpse created in collaboration with poet Ted Joans, includes contributions from artists, writers, musicians, and intellectuals from around the world, including William Burroughs, Ishmael Reed, and Paul Bowles. The exquisite corpse, a game invented by the surrealists in which each person adds to a drawing to create a collaborative work, underlies a desire for communal rather than ego-driven art.