Mario García Torres at Walker Art Center

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CAD presentation of Garcia Torres's work whose loss of the requisite information contained in didactics jettisoned, the info sent asea that would have allowed any remotely complete picture (since the GT's is often the oral myth of the didactic anyway), itself becomes a GT work for its, again, circumcision of the package, a clipping omission that refuses whole narrative. There's information missing, and you can fill it with whatever,  a hole we call poetic. A group of scientists thought that perhaps the best way to spread messages intergenerationally into the future, past the reaches of language, was not simple symbols like skulls for death, but rather to create a myth, in this case a fear of glowing cats. Whether or not the cats glow in the future doesn't matter, the point is the scientists were successful because I'm telling you now.

Nairy Baghramian at Walker Art Center?

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So CAD's photos are almost certainly from S.M.A.K.'s dark wood floors - where the exhibition was originally presented - and not the Walker Art Center named here, a fun bit of transpositional virtuality, a rose by any other name would smell something different in it, a theme of Baghramian's work. You look in the clouds in the background and see a fist crushing a fire, whereas we see two tapeworms' coitus, a mold for an object we cannot see but envision, the negative space we are left to fill with our own hot air, you the blimp to travel to different institutions in new names, what would it matter if the floors change.


see too: Nairy Baghramian at Museo Tamayo, Nairy Baghramian at Marian Goodman

Katharina Fritsch at Walker Art Center

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The exhibition views show everything inside acrylic cubes like diamond ring displays for the you-can-not-touch sort, a barrier reflecting your meaty visage obscuring the objects. The documentation of the object themselves made in a photo studio sweep under day-glo lighting of product photography - they look like advertisements, a virtual form that doesn't exist, even for Fritsch, anywhere but the virtual image, like the perfect commodity you can't buy, the digitally reconstructed hamburger that looks nothing like our besogged meat IRL, its just an ideal, one that marionetting desire long enough to get you purchase the idea. Look at the the grey of the exhibition views, and the white crystalline radiance of the product photography. Are these not diamond adverts? The point of it surely.