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The deployment of entirely new means at some point became Genzken's means. The abrupt shifts in technologies was part and parcel of working to race the speed of culture itself in the evolution of new forms of attraction. And Genzken was good at it, this adaptation, championing a disposablity and turnover as the means to competition that is today's standard for young artists. But Genzken was brilliant at it, and the trust we have for it means she could place anything on the walls of the gallery and at this late stage we would buy it, a level of trust built unbelievable.
See too: Ben Schumacher at Musee d’art contemporain de Lyon