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Where the Wild Things Were

Richard Vine
Art in America, May 1997

The work that enjoys the greatest critical prominence in Chicago these days is either purely formal or "political" only in the indirect sense of conveying a latent cultural critique.

For the exhibition, experienced in its entirety, gave one the sense of moving from a time-tested esthetic involving unique, well-made, often body-centered physical objects (e.g., Margaret Wharton's Morning Bed, 1978) toward a new art-as-information (e.g., (art)n's 1991 computer-derived "virtual photography" installation), in which facture-and even substansive presence-is of secondary importance at best.