Martin Herbert’s latest book is a collection of essays about 10 artists who play with the system, struggle against it, or walk away altogether.
LONDON — The day began in the Turbine Hall, the 85-foot-tall atrium at the heart of Tate Modern, the most visited museum of modern and contemporary art in the world.
Even in today’s anything-goes environment, it’s not all that common to encounter a work of art that hews so closely to the mundane that it risks not being recognized as art at all. Let alone two or three in a single show.
But that’s the case with Conspicuous Unusable, a group exhibition at Miguel Abreu that’s a refreshing throwback to a time (the 1970s) when the division between art and life was in a constant state of flux and gallery press releases routinely began with a quotation from Martin Heidegger.