You hear it before you see it: material wrestling, things falling apart, the determined groan of industry. And then, before you open 52 Walker’s massive interior door, you might catch a glimpse through the wall, where a hole has been emptied-out, of the kinds of things people get up to inside.
Gordon Matta-Clark & Pope.L: Impossible Failures, 52 Walker’s blockbuster late-winter show, which closed earlier this month, built a bridge between two interdisciplinary artists and then knocked it down. Curator Ebony L. Haynes cleverly overlaid a few of Matta-Clark’s signature punctures—iterations of those massive openings he blew into West Side warehouses, here scaled down
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