This Will Have Been: Art, Love & Politics in the 1980s
Feb 11–Jun 3, 2012
While working as a gallery assistant installing Minimalist sculpture in the homes of wealthy art collectors, Tony Tasset learned that when art enters the domestic sphere distinctions between art and decoration tend to collapse. Button Progression’s wall-mounted cubes, whose buttons increasingly subdivide the leather cushions, refer to Minimalism’s serial repetitions as equally as they summon high-end leather furniture. Like Sherrie Levine’s work of the same year (also on view in this gallery), Button Progression wryly merges a modernist aesthetic with functionless furniture, marking the transformation of the utopian ideals of twentieth-century art into expensive home decor.