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Virgil Marti: Forest Park

In her essay in Forest Park, a new monograph on the artist Virgil Marti, critic Hilarie Sheets identifies Marti’s advent into the mainstream art world as his 2002 installation Grow Room.


I can think of no better way to begin this review than with a proclamation addressing the relationship between critical theory and art practice. Vilém Flusser does just such a thing with history by developing a general theory of gestures.


The Brooklyn Rail

NOV 2014

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