A plan for an exhibition of works on paper involves painting furniture and decoration directly onto gallery walls, turning the space into a depicted room. This playful setting does not change the works themselves, but it reshapes how earlier studio paintings and drawings are understood. Critics have often been perplexed because the work does not rely on appropriation, citation, parody, or irony, and it does not fit established postmodern categories. The approach instead centers skepticism, absurdity, and critique of familiar tropes, including the masculinity of painting. The work uses multiple pictorial languages that collide and juxtapose, reflecting the noisy exterior and interior life under late-stage capitalism, with humor drawing viewers into consumer choice, fluid identities, and dislocating futility.
"He explained that he was going to transform the gallery into a room by painting a sofa, plant, cocktail table, standing lamp, and other pieces of furniture and decoration onto the walls."
Read at Hyperallergic
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