Entering into Liam Gillick’s “Three perspectives and a short scenario” was like diving into a heavily footnoted seminar presentation. The single large exhibition space was dark, divided into sections and hallways by 10-foot-high slatted screens and dark gray industrial carpeting. As a viewer, you were directed first to the right, in an angled spiral that led to didactic signage introducing the work. Venturing out of that dead end, you turned to find a large collection of vitrines, imposing in scale and shoved close together to form a Minimalist object. Leaning in, but not allowed to touch, one could see posters, books, objects, a skateboard, and a lot of other stuff beneath the protective glass. At first, the things looked haphazardly thrown in there, but longer reflection proved that the graphic design works, artist books, and multiples were carefully arranged, overlapped, stacked, and positioned so that nothing was clearly legible. Furthermore, the reflection off the glass made it difficult to see the entrapped works. The view was also frustrated by a play of light and color because the usually unremarkable frosted ceiling tiles of the high-walled room had been replaced with colorful squares of purple, green, blue, yellow, orange, and clear Plexiglas…see the entire article in the print version of November’s Sculpture magazine.
