Urs Fischer has reduced Gavin Brown’s Enterprise to a hole in the ground, and it is one of the most splendid things to have happened in a New York gallery in a while. Experientially rich, buzzing with energy and entropy, crammed with chaos and contradiction, and topped off with the saga of subversion that is central both to the history of the empty-gallery-as-a-work-of-art but also to the Gavin Brown experience itself, this work is brimming with meaning and mojo. It was also a Herculean project.
A 38-foot-by-30-foot crater, eight feet deep, extends almost to the walls of the gallery, surrounded by a fourteen-inch ledge of concrete floor. A sign at the door cautions, THE INSTALLATION IS PHYSICALLY DANGEROUS AND INHERENTLY INVOLVES THE RISK OF SERIOUS INJURY OR DEATH; intrepid viewers can, all the same, inch their way around the hole.
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