Envisioning an issue on “art and architecture,” we found a perfect interlocutor in the Houston- and New York-based conceptual artist Mary Ellen Carroll. Like Carroll’s Prototype 180—which made “architecture perform” in the Sharpstown subdivision of Houston by rotating “an acre of land and the existing single family home”—No. 68 enacts a series of shifts, reversals and contradictions, pushing the contents of Art Lies into “collateral disciplines…including policy, history, law, science, economics and the media.”

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