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"so caught up in this chaos of signs and surface effects, it's precisely because it's so serious about space: In a time when space and image lose their distinction, and the old, ideal distance between viewer and object is always already filled up and occupied by a thousand communications, sculpture, too, finds ways of making itself multi-surfaced and schizo-temporal. In order to re-occupy our contemporary no-space, it trades in its timeless pose for a temporary one, or for a manic series of appearances." -Kelsey on Harrison
Whereas Harrison's objects had once incorporated the conditions governing the mall-like sign-systems overtaking public space, the all but destroyed semio-coherence of advertising illogic into art's poetic fissures structuring a grand palace on non-sequitur, have mutated, over-inflating into a cartoon version of a Harrison object itself, a big throbbing tumescence of a lumpen art object.
See too: David Lieske at MUMOK, “Flat Neighbors” at Rachel Uffner
