Installation view of “Maurizio Cattelan: All” at the Guggenheim.

Maurizio Cattelan

New York

Solomon R. Guggenheim Museum

Some years ago, I argued in favor of making a critical distinction between works of art that are significant and those that are merely symptomatic of the times. While I believe the former are more important than the latter, the proliferation of trends in the art world continues to hold the upper hand and to move in the direction of what is symptomatic, which generally includes imagery or “readymades” that mirror the times, rather than significant art that challenges our sensory and cognitive faculties by taking us to another level of perception and discovery. Maurizio Cattelan aspires to be a renegade, jester, and anomaly, all under the guise of being an artist whose work’s authenticity we are meant to question…see the entire review in the print version of July/August’s Sculpture magazine.