Hal Bromm Gallery, New York, 1987
On the walls of a freshly renovated gallery on the Lower East Side, the artist projected
images of three windows facing a run-down area on the eve of redevelopment. Onto the sill
of one of the projected windows was superimposed the image of a pair of binoculars lying
atop some real-estate magazines. As Dennis Hollier wrote, “Wodiczko exposes the real
estate system that requires art: he strips bare its conditions of possibility, puts its place on
exhibit; he pulls its function as a preserve out of reserve. For a neighborhood, there is no
better sign of improvement than the advent of art galleries.” (Denis Hollier, “While the City
Sleeps,” October 64 [1993], p. 7).
