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Project for a Revolution in New York
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In this summer sublet, gallerist Mitchell Algus, a tireless champion of underrecognized artists from the sixties and seventies, takes over a space normally given over to blue chips. Much of the work by the mostly male, mostly European artists therefore looks weirdly time-shifted; Felix Labisse’s orifice-sprouting orb The Wanton (1965) could have been painted by Magritte in the thirties, and Jacques Poli’s steely abstraction Kornet Sans Coupe Cuillère (1976) by Picabia during World War I. It’s a diverting, if not exactly historic, cache of repressed Surrealism.
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