Eduardo Abaroa’s work has taken many twists and turns over the years, from the monument-like Portable Broken Obelisk for Outdoor Markets (1991-93) to the curiously functional and intimate Fragments for human hands VI (2009), to the spectacular Total destruction of the Anthropology Museum (2012) and the surreal and hypnotic Great Oxygen Catastrophe (2015). In the past, Abaroa worked primarily with Arte Povera-style materials, but recent works have moved in a different direction. Time will tell whether he might return to find new ways of investigating everyday materials in the future. Regardless of material or subject, Abaroa consistently surprises with combinations and juxtapositions both playful and seriously sociopolitical, as he rethinks a range of cultural, ideological, historical, environmental, and aesthetic traditions …see the entire article in the print version of January/February’s Sculpture magazine.
