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Perhaps these works complicate things, but only internally-that is, only in stretching the question regarding the indeterminacy of sculpture (a question that underlies his entire project) into larger architectural expanses and non-art-institutional spaces that demand more complex forms of bureaucratic negotiation, capital investment, and user engagement. Jorge Pardo’s lobby at Dia or the interior of his Mountain Bar in Los Angeles, for instance, do little but reiterate his project-both in terms of the concerns that drive it and the design languages that it appropriates-on a larger scale. While various artists may have considered what this “slouching toward the interior” may mean for art production, few have considered the potential that may be stored in the interior itself as reflexive structure, malleable form, and analytical tool. But this repeated rendezvous has been mostly a dance of half steps-these “interiors” don’t so much use site as setting and material as put a new skin on it. ![]() Whether it’s the artwork as lecture hall, museum lobby, bookshop, screening room, library, dining hall, video store, or rec room, one finds a consistent engagement with architecture’s interior spaces and conventional typologies. From an artwork spread out everywhere we turn to one that is located very precisely in the features that can be said to make up the space-the walls, the furnishings, the floor coverings, the display structures, the shelves. ![]() Many of the more prominent artworks produced in the last decade or so are characterized by a recasting of what were once called installations as something closer to interiors, relegating the installation to a supportive role that places meaning in the service of activity.
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