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Some days spent in bed wondering: Does CAD love anyone more than Lutz Bacher? answered by the appearance of another before us. Gotta Catch 'em all Quarterly. If Bacher's theme of the erosion of the monument-as-sign's ability to mean isn't still apparent, the spamming of its images should make it: The semantic satiation of saying it again and again mirroring Bacher's interest in the loss, in the meaning photocopied to death. Like Gonzalez-Torres - who CAD also obviously feels some large affinity towards - significance is in the continual depletion and refill of an ability to appear -significant or loved - in the face of another, an artistic problem if there ever was one.
See too: Lutz Bacher at 356 Mission, Lutz Bacher at Statens Museum for Kunst, Lutz Bacher at Daniel Buchloz, Lutz Bacher at Daniel Buchholz, Contemporary Art Quarterly 2, On Kawara at the Guggenheim
