The Meantime: Before Digital, After Analogue
No matter what its imagery has been about—autobiography, ancestry, race, all those things that comprise memory and its inexorable corollary, the passage of time—the art of Annette Lawrence has always been, in some respects, a practice, a concerted making of circles, squares, grids, and spirals. Joel Weinstein, “Mixed-media Artist Has a Line on the Ethereal,” Dallas Morning News, May 27, 2000

Places of a Present Past is filled with an archaeological ethic, metaphorically digging down, both spatially and psychologically in the depths of transnational grief. Noah Simblist, Places of a Present Past

Being the Opposite

We can discuss Orchard as a possible answer to the question about collective and critical art practice today. Establishing a space for different relations between art and the social is political in my understanding. I am not saying that this is the only way in which the political needs to be enacted, but it is one possibility, and Orchard was a concrete and functioning example. Ulrike Müller, in “An Idea-Driven Social Space,” by Andrea Geyer and Ulrike Müller, Grey Room 35, Spring 2009

Why Does Fred Sandback’s Work Make Me Want to Be Ridiculous?

Sandback was willing to risk his sculptures being nothing at all, and so he was able to create works of art that feel relevant to everything. Adam Lerner on Fred Sandback