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At best Liden's "examinations of the anxiety of urban space" demonstrates the fraughtness on which society often rests: flippantly publishing the keys to city, (e.g. bolt cutters and flashlight); implicit threat of artist's desublimating their professions higher order bashing a bicycle to death (see too: real violence); or the small smile of this exhibition's theft of things that delineate private property (i.e. stealing the things that make private property possible). Bristling the small hairs separating us from chaos. The giddy nerves of being in break down's presence. Feel the rush of anarchism from the safety of the institution that by allowing its entrance proves it isn't so. It is fun. At worst wonder whether the rich whose wealth rely on this power that Liden ostensibly undermines don't feel some sort of safety in the irony of owning these institutional white walls, proving their invulnerability.
See too: Claire Fontaine at Galerie Neu, Claire Fontaine at Galerie Neu, Jay Chung & Q Takeki Maeda at 356 Mission, Reena Spaulings at Chantal Crousel
