"Recursion" presents the most recent iteration of Marnie’s ongoing engagement with site-specific installation. Addressing the quotidian publicness of this storefront and its chopped vestibule interior, Marnie has elected to block out one side of the space with a large red work. He uses the same standard building materials repeatedly employed in the service of his interventions: inkjet prints, drywall, glue. Screws through the face of the work affix it in a mock-permanence, particular to an orthodox use of the substrate. As such, the work hovers between the surface of the wall and something hung on it. It pulsates. Centered on the wall, a border surrounds it—setting off the bulls-eye nature of the work with a precision that turns attention away from it onto the surrounding architecture. Installed to the left of the doorway, and further obscured by the clouded glass of the windows, the dead-on view that normally attends such a work is denied. Caught in a net of self-negation, the boundaries of the work are torn between expansion and collapse.
Adam Marnie (born 1977) has shown his work in numerous New York galleries, with recent solo exhibitions at Halsey McKay (2014) and Derek Eller (2013); group exhibitions with Andrea Rosen, Know More Games and James Fuentes; and across the US: David Petersen Gallery, Minneapolis; Fourteen30 Contemporary, Portland; and Night Gallery, Los Angeles. His work has been reviewed in The New York Times, The Brooklyn Rail, The East Hampton Star, Last Magazine, and Night Papers. He is also publisher and editor-in-chief of the biannual magazine F, the second issue of which is due out late this fall.
The exhibitions at 55 Gansevoort are entirely visible, at all hours, by peering through the windowed doors.