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|To the left is Time Out NY's "Infinite Fill Show" review; on the whole it's better than the NY Times'. Below is the accompanying photo. My notes on the review:
At least this writer got Jamie Arcangel's sex right, but it's Foxy Production, singular.
"[F]ew of the artworks reveal the influence of the computer age..." This is to calm regular readers of the Time Out art page, who might be freaked out by too much computer art in a gallery.
"Several of the artists display Op Art grids made from media as disparate as a latch hook and cassette tapes, including a vinyl piece by the curators' mother." That is how that sentence should read: I suspect editorial garbling in the published text.
Props to Joe McKay for undulations catching the critic's eye. His piece is good, a sort of moving Suprematist abstraction gliding in and out of a permanent dark band on a broken PowerBook. Broken consumer tech=very good.
[J]ust as computers generate complexity using a binary system of 1s and 0s, the Arcangels' two simple criteria [black & white + repeating patterns] have yielded a superabundance of pattern--not to mention artwork..." Yes! Bemoaners of the "crisis of criticism," you get your theory where you find it in the art world; this is a variant of Sally McKay's here on this blog (scroll down to comments). Roberta Smith only got the second half of this thought.