But we have to ask what kinds of pseudo-museums these institutions are, because in mega-galleries, quality, quantity, availability, opportunism, and marketability are often interchangeable. One’s never sure whether these are shows of available product, stuff floating around the secondary market, collectors liquidating assets or looking to pump and dump, or the deeply felt personal passion of the dealer. One month the megas show gigantic installations of shiny crap and bric-a-brac. The next month they’re showing Reinhardt, Rauschenberg, or De Kooning.
New York Magazine
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