SculptureCenter

In the early days of motion pictures, when movies were shot in film, editors would physically review footage, handling, cutting, and taping together different sections. Innumerable snippets ended up on the cutting-room floor, discarded, never to be seen again. New York–based Polish artist Agnieszka Kurant is a chronicler of this negative side of creative output, a gleaner of what she calls “phantom capital.”