The problem with "Figuring Color" — besides the unevenness of the work (Porter has a sweet tooth for cheesy whimsy) — is that the theme is such a baggy catchall. Putting New Yorker Kathy Butterly's surreal little glazed ceramic vessels that hint of bellies, behinds, and legs next to Gonzalez-Torres's conceptual installations next to McMakin's chair next to Williams's cartoons doesn't reveal much common intent. The point of Gonzalez-Torres's intimate, sparkling meditation on blood is practically the opposite of Williams's gonzo bloodbaths. The correspondences aren't so much illuminating as happenstance.
Read Greg Cook's blog at gregcookland.com/journal.
: Museum And Gallery
, Institute of Contemporary Art, Institute of Contemporary Art, Art, More