Category:projects

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via [instagram/365days_in_nyc]

I will have more to say about it because it is blowing my mind in unexpected ways, but it has already taken me too long to shout it out: Mark Leckey has included my piece, Untitled (Satelloon), in "Containers and their Drivers," his survey at MoMA PS1.

The satelloon is incorporated into a new installation of Dream English Kid 1964-1999 AD (2015), an autobiographical piece Leckey assembles through what he calls "found memories."

The satelloon is a refabrication of a Beacon satellite, the 12-foot Mylar inflatable that was shown publicly at the US Capitol and other sites in the run up for NASA's Project Echo. Echo 1A, which launched in 1960, was 100 feet in diameter, and was the first visible manmade object in space. In Leckey's installation, though, the satelloon serves as a reference, I believe, to Echo II, the 135-ft successor, which launched in 1964.

Satelloons have been big around here for nearly 10 years, and I've been engrossed by their aesthetic power, and what can only be called their exhibition and display. They are beautiful objects created to be seen, and they have many implications.

Part of this became the subject of "Exhibition Space," a show I organized at apexart in 2013, which was the occasion for fabricating this particular object. At the time, I was reluctant for a whole host of reasons to declare the show, and the objects in it, to be artworks. But I'm chill with it now, thanks in no small part to Leckey's own powerful and generous practice over the last several years of curation-as-art, as well as my own subsequent developments.

In any case, a huge thanks and congratulations to Mark Leckey, along with curators Stuart Comer and Peter Eleey, and the folks at PS1, who have been a pleasure to work with. I had no idea how Mark would end up incorporating the piece, but it looks utterly transfixing, and I cannot wait to see it in person.

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greg.org Untitled (Erster Blick), 2016, digital print and graphite on white bond, 38.6 x 27.3 cm (uncropped), ed. 100+20+10+6

I'm pleased to offer a limited edition, a sort of palate cleanser for Frieze London, an amuse bouche if you will, for FIAC.

Untitled (Erster Blick) is a digital inkjet print and graphite work on white bond. It is a slightly enlarged facsimile of a page from the press clippings archive of the Zentrum für Elektronische Korrelationen und Magnetismus at Universität Augsburg's Institut für Physik.

It will be available until Thursday, October 27, when bidding opens at Christie's Kensington for Gerhard Richter's Erster Blick, a slightly enlarged illustration from the Frankfurter Allgemeine Zeitung published on 26th July 2000. The First Open Prints & Multiples sale is scheduled to begin at 2:00PM London (1:00PM UTC), and Richter's work is Lot 76, so perhaps a little after 3:00? But don't dally. And don't come looking for mine if you lose out on Richter's, because it will be gone, and you will lose twice.

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Lot 76 | Gerhard Richter, Erster Blick, 2000, offset print, 18.2x15.1cm, ed. 100, plus 20, 10 TP, 6 TP, est. GBP 2000-3000. via Christie's

Following Richter's offset print, Untitled (Erster Blick) will be available in an edition of 100, plus 20 Roman numeral copies, plus 10 trial proofs, plus 6 other trial proofs, marked Probe. All will be numbered, signed, and stamped. It is the artist's intention they remain uncropped, but who knows? It's a wild world out there.

[UPDATE: Thanks to all, and to those getting more than one, that's fine, awesome even, but please consider others in your voracious collecting frenzies. Also, the prints will be numbered/designated in the order listed above. So if fewer than 100 prints sell before the auction, there will be no proofs. So buy early, then buy late? I really have no idea how this thing will play out.

The price for Untitled (Erster Blick) is $US20, shipped. Or it was. The edition is closed and no longer available. Thanks to the collectors and connoisseurs who purchased prints, they will be produced and delivered promptly, stay tuned.

UPDATE: Oh wow, the Richter didn't sell [either, ha].

Previously, related: Untitled (Tanya), 2014

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Has Questlove read this aloud himself? I don't think so. I wish he would, because if I cry this much when the robot reads it...

Download: Better_Read_010_Questlove_Im_Still_Human_20160920.mp3 [11:27, 16.5mb mp3 via dropbox]
Read: Questlove: Trayvon Martin and I Ain't Shit [nymag via @jamilahlemieux]
Questlove discussing racial profiling and his reaction to the Trayvon Martin verdict with Amy Goodman in Aug. 2013 [youtube]

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installation view, "Tell Me What I Mean," at To_____Bridges_____ 11 Sept - 23 Oct. 2016, image: John Garcia

I'm psyched to announce that The Madoff Provenance Project is included in a group show, "Tell Me What I Mean," at To_____Bridges_____ in NYC, which opened Sept 11 and runs through October 23rd, 2016. The show, curated by artist John Garcia, considers the way context and metadata affect the way an artwork is experienced and understood.

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study for MPP-014-KEL, 2016, recto, 12x9 in., ink, pencil, and watercolor on Arches

John was thoughtful and intriguing in his invitation to include the Madoff project, which did not have any obvious physical manifestation. But meeting that challenge, and having the work seen among an interesting group of artists, made me say, "Hell, yeah" pretty quickly. Besides me, the show includes work by Sophie Calle, Sara Cwynar, Robert Heinecken, Rose Marcus, Alex Perweiler, Peter Piller, Michael Bell-Smith, and Colin Snap.

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study for MPP-020-MAT, 2016, recto, 12.875 x 9.25 in., ink, pencil, and marker on Arches

Unsurprising to most, no owner of an authenticated Madoff-provenance artwork has yet agreed to have their work stamped with the "ex collectio MADF" stamp I created. So for this show I made "studies," 1:1 facsimiles of some Madoff works, properly stamped. In their stripped down nothingness, they definitely turned out more Stephen Prina's The Complete Paintings of Manet than Vik Muniz' Verso.

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"Tell Me What I Mean," Installation view, The Madoff Provenance Project, 2014- , image: John Garcia

I also put together a few binders of court data and auction records, which serve as a comprehensive reference to all the artworks in the Madoff Provenance Project. I feel confident that if Mel Bochner could have had Zazzle custom print the binders for Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, he totally would have.

To____Bridges_____ is a year-long project space in the Bronx run by The Still House Group. A second show of photographer Gary Perweiler's 70s and 80s advertising images, recontextualized by his son (and TSHG member) Alex Perweiler, runs concurrently. The space is open by appointment.

To_____Bridges_____ [to-bridges.info]
Ex Collectio: The Bernard Madoff Provenance Project

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Untitled (Gerda Taro Leipzig Monochromes), 2016, Gerda Taro photos, painted wood supports, tar. image: Anne König and Jan Wenzel

On the night of August 3rd, an outdoor installation of 18 photos by Gerda Taro in Leipzig, Germany, was vandalized, painted over with tar? Or aniline black dye? The photos were part of f/stop Leipzig, an annual photography festival, held in early July. Some of the public space components of the festival apparently continued beyond that date.

f/stop curators Anne König and Jan Wenzel included Taro, a pioneering war photographer, because of the confluence of her life, her work, and the city itself. She lived in Leipzig until 1933, when she fled as a Jewish refugee. She met up with another refugee, Robert Capa, in Paris, and they documented the Spanish Civil War together until Taro was killed in 1937. Leipzig is hosting many refugees from the Syrian war right now.

The curators note that effacing the images of refugees by a Jewish photographer with tar is inherently a political act, and they are calling on the city to discuss the implications. The Taro estate, in the form of the International Center for Photography, wants her images back on view in Leipzig.

I agree with all of that, but also wish to recognize the damning bluntness of the blacked out panels. Sometimes redactions and monochromes cannot be let off the hook. Declaring them an artwork of my own is no way of assuring anything, but It feels important that they will be preserved.

The 21 panels include three texts and at least five layouts from LIFE magazine. The bottom eleven were completely blacked out, while the tops of the five tallest appear to have been beyond the easy reach of the unknown redacter. In the event this work does get destroyed, I will try to identify the Taro images under the tar.

update: I'm still thinking this one through a bit.

Pioneering war photographer Gerda Taro's images vandalised in Leipzig [theartnewspaper]
09. August 2016 Auch Gewalt gegen Fotografien ist Gewalt [f-stop-leipzig.de]

July 16, 2016

Sforzian Boardwalk

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Hillary Clinton speaking at the closed Trump Plaza in Atlantic City July 6, 2016, image: philly.com/Tom Gralsh

I missed this while I was out of town, but Hillary Clinton hit a Sforzian jackpot when she gave a campaign speech on the boardwalk in Atlantic City, in front of the closed and failed Trump Plaza Casino.

Carl Icahn owns the building now, and the vestiges of Trump's failure are literally written on the wall, providing a readymade Sforzian backdrop.

Or two. According to Amy Rosenberg's report at philly.com, the Clinton campaign had originally wanted to stage their event a block inland, with the casino's de-Trumped tower in the background, but it would have blocked traffic to Caesar's. So they wedged in to a less optimal but still effective corner of the boardwalk, the ghosts of T-R-U-M-P lingered on the classy, glassy marquee.

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same, this time via Asbury Park Press/USAT/Tom Costello

If you don't count his kneejerk tweets blaming anyone else for his business's failures while crowing about skating out of bankruptcy with a wad of investors' dough, Trump's reaction came Thursday. The Press of Atlantic City reports that the traces of Trump's name were removed "for good" from the boardwalk facade. "Black paint has been applied to cover up any mention to Donald Trump."

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Untitled (Trump Plaza Black) Nos. 1-3, 2016, paint on panel, collection: Trump Entertainment Resorts/Carl Icahn, installation photo via Press of Atlantic City

Actually, from Jack Tomczuk's (or Michael Ein's, I can't tell) photos, the traces of Trump's name were not painted over, but were covered by painted panels. Five black monochromes were affixed to Hillary's Sforzian corner, and to the fenced off boardwalk entrance, where the ghost of Trump's made up crest remains visible but illegible.

The exhibition will remain on view at least through November. I would be stoked if you visit it and post photos.

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Untitled (Trump Plaza Black) Nos. 4 & 5, 2016, paint on panel, each in two parts, collection: Trump Entertainment Resorts/Carl Icahn, installation photo via Press of Atlantic City

Hillary Clinton takes on Trump in A.C. [philly.com]
Faded 'Trump Plaza' removed after Clinton appearance [pressofatlanticcity.com]

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Sturtevant's Vertical Monad, 2008, installed at Anthony Reynolds Gallery, London

In case the last Better Read was too mainstream podcasty for you, here are the first few pages of Spinoza's Ethica Ordine Geometrico Demonstrata, in Latin, which Sturtevant included in her 2008 installation Vertical Monad, read by a computer.

Better_Read_Sturtevant_Spinoza_20160610.mp3 [dropbox, 35Mb, 24:28]

May 11, 2016

Free As In America

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The thing about Cassandra was she was right.

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In the Summer of 1990 Michèle Cone talked with Cady Noland about the intimations of violence in her works:

Michèle Cone: Practically every piece I have seen of yours in group shows or in your one-person shows projects a sense of violence, via signs of confinement -- enclosures, gates, boxes, or the aftermath of accident, murder, fighting, boxing, or as in your recent cut-out and pop-up pieces -- bullet holes.

Cady Noland: Violence used to be part of life in America and had a positive reputation. Apparently, at least according to Lewis Coser who was writing about the transition of sociology in relation to violence, at a certain point violence used to describe sociology in a very positive way. There was a kind of righteousness about violence -- the break with England, fighting for our rights, the Boston Tea Party. Now, in our culture as it is, there is one official social norm -- and acts of violence, expressions of dissatisfaction are framed in an atomized view as being "abnormal."

Cone: There are clear references to extreme cases of violence in the United States, Lincoln and Booth, Kennedy and Oswald, Patricia Hearst, etc. . . .

Noland: In the United States at present we don't have a "language of dissension." You might say people visit their frustrations on other individuals and that acts as a type of "safety valve" to "have steam let off." People may complain about "all of the violence there is today," but if there weren't these more individual forms of venting, there would more likely be rioters or committees expressing dissatisfaction in a more collective way. Violence has always been around. The seeming randomness of it now actually indicates the lack of political organization representing different interests. "Inalienable rights" become something so inane that they break down into men believing that they have the right to be superior to women (there's someone lower on the ladder than they) so if a woman won't dare them any more they have a right to murder them. It's called the peace in the feud. In this fashion, hostility and envy are vented without threatening the structures of society.

And so it is that in the Summer of 2016 Anheuser-Busch InBev has announced that, for promotional purposes, from Memorial Day until the US presidential election in November, it is renaming and relabeling Budweiser, its flagship beer, America.

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Budweiser bottles and cans are prominent elements of many of Noland's works, from small baskets and milk crates of detritus to the epic 1989 installation, This Piece Has No Title Yet, where six-packs of Budweiser stacked 16 high line the walls. Noland saw already that Budweiser was America. Or that it inevitably would be.

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Bloody Mess, 1988, carpet, rubber mats, wire basket, headlamp, shock absorber, handcuffs, beer cans, headlight bulbs, chains and police equipment, dimensions variable

And so as a tribute to Noland's foresight and to America's future, I am honored to announce Untitled (Free As In America). For this series I will replicate any Noland sculpture that uses Budweiser, using America cans or bottles, and I'll do it for cost. The series will be available during InBev's America campaign, and will obviously be subject to the availability of America brand cans, bottles, and cartons.

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Chicken in a Basket, 1989, "twenty-seven elements, wire basket, rubber chicken, boxes, bottle, flags, baster, bungee and beer cans", offered for sale this afternoon at Christies, image via Skarstedt

I am obviously not recreating Nolands a la Triple Candie, but I don't want to merely approximate them, either. So I'll only make pieces based on Nolands whose elements are suitably documented, such as in photographs and auction catalogue copy:

Noland once described America as a gestalt experience...In the case of Bloody Mess, disparate objects, including Budweiser cans, car parts, police equipment, and rubber mats collectively comprise a quintessential American image. These cans of "The Great American Lager," for instance, are scattered to the outreaches of the piece, so as to provide a sort of abstract framework around the inner compilation of a paraphenalia [sic] law enforcement and an uncanny selection of automobile parts.
If substitutions are needed, they will be considered on a case-by-case basis. Every work, in fact, will be devised, specced and costed out individually, in consultation with the collector. So get in touch, and God Bless America.

A-B InBev Looks to Replace Budweiser With 'America' on Packs [adage]

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examples of Taliesin Square Papers from the Frank Lloyd Wright Library at Steinerag

Welcome to Better Read, an intermittent experiment at greg.org to transform art-related texts into handy, entertaining, and informative audio. This text is excerpts from a pamphlet essay by Frank Lloyd Wright, "In the Cause of Architecture: The "International Style" (Soft Cover), published by Taliesin Fellowship in February 1953. It would be the last of what were called the Taliesen Square Paper Series. The editorial was republished in the July 1953 issue of House Beautiful magazine with the title, "Frank Lloyd Wright Speaks Up." Wright was 85 years old at the time, and he hated hated the International Style.

I could not find print copies of either of these publications available anywhere. Library holdings of House Beautiful are spotty and incomplete. When I tried the authoritative-seeming, five-volume Frank Lloyd Wright Collected Writings, I also came up short. There are only five copies of Vol. 5 (1949-1959) listed in libraries in the US. How could this be? I ended up buying a used copy for a couple of bucks from Goodwill in Michigan, which turned out to have been deaccessioned by the library in a federal prison. Anyway, the text comes from there [pp. 66-69].

I wanted to find this text because it is the source of two popular zingers from Wright: the great opening line, "The 'International Style' is neither international, nor a style," and saying supporters of modern architecture are not only totalitarians, fascists, or communists, they "are not wholesome people." This line came up, for example, in a recent Atlas Obscura article about Hollin Hills, a nice but innocuous mid-century modernist subdivision near Washington DC.

I wanted to see the fuller context of Wright's criticisms, partly because one of the objects of his scorn, the MoMA-affiliated architect Philip Johnson, was actually a Nazi and an aspiring leader of US fascism at one point. [I've come to think Johnson recognized the disadvantages of political affiliation for his real interest: himself and his career, and that his devotion for the rest of his life to establishment power was quite sincere, but that's not the point right now.]

The main reason is because Wright's communist and anti-modernist bogeymen sounded familiar, like they might resonate with the conservative or rightist campaigns against everything modern, from abstraction to Brutalism to Post-Modernism, to Tilted Arc to the Culture Wars, Wojnarowicz, you name it. Wright's architecture has been generally assimilated into our historical narrative, but, I thought, it's come at the cost of our understanding of the political context in which he created it, and from which he attacked those who didn't ascribe to his own views, or pursue his particular agenda.

Anyway, Wright's text is after the jump, or you can listen to the text read by a robot.

better_read_frank_lloyd_wright_intl_style_20160505.mp3 [dropbox, 18mb mp3, 13min or so]

April 18, 2016

⌘S

About five years ago I began collecting dead websites. It started in 2010 with Thomas Hirschhorn, after his first website, made for the Bijlmer Spinoza-Festival in Amsterdam, disappeared from the net. The Spinoza project was the third in a series of temporary projects dedicated to philosophers.

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Hirschhorn calls these "presence and production" works. Here is a 2009 interview with Ross Birrell:

"Presence" and "Production" are terms I use for specific projects which require my presence and my production. It means to make a physical statement here and now.
I believe that only with presence - my presence - and only with production - my production - can I provoke through my work, an impact on the field.
When the project is over, the programs end, the materials are dispersed, the artist moves on, and a couple of months later, the website where the entire thing had been documented disappears. Then the links go dead, the URL expires, and gets scooped up by some zombie ad network. All that remains are some jpgs illustrating Marcus Steinweg's Bijlmer lectures.

I'd been to the first at Documenta, the Bataille Monument, in 2002, but not the Spinoza Festival, and so the website was it for me. I'd wanted to read and see more, longer. And then I discovered I couldn't. It was gone.

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So when Hirschhorn launched his second website the next year, for CRYSTAL OF RESISTANCE, the Swiss Pavilion at the 2011 Venice Biennale, I was ready. Almost. I grabbed the whole site several times, but l missed some galleries. And then it was gone.

The GRAMSCI MONUMENT site in 2013, I definitely got that one. And Hirschhorn's project at the Palais de Tokyo in 2014, FLAMME ETERNELLE, I got that one too.

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When the greatest website in the world got edited into oblivion, I grabbed it from the Internet Archive and made a piece out of it last year: Untitled (Embroidery Trouble Shooting Guide).

Then a few months ago I heard MOCA had deleted the informative and interactive mini-site for Philipp Kaiser and Miwon Kwon's Land Art show, so I rebuilt that one. Or I'm in process. I still have to reconnect the Google Earth links. [Google's deprecated KML API may have led to the page's demise.]

This is how I started posting them as subdomains, similar to found texts or found web objects. In the case of Hirschhorn, I was very aware since Venice that these were different, and very much not his work: "This website is neither an artwork, nor part of the artwork <>", it said on the front of the site.

But wasn't, but now it was, but of a different work. Hirschhorn's projects required his presence and his production, and my sites had neither. They appeared the same but were the opposite.

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They weren't just for me anymore. At least I didn't have to think so.

I do edit them, leave my mark, track changes, in the text somewhere, or the source, in ways that are invisible or imperceptible, where I imagine literally no one will ever know or care. At one point, in a more cynical mood, I rewrote the entire Gramsci Monument to be entirely about me. But the more I consider Hirschhorn's practice, the less sure I am that the gesture works as critique. [Of him, anyway. Of me, OTOH... At least I kept a clean version too.]

For example, here is something I wrote in the source of Ends of the Earth:

Though it is still available on the Internet Archive, this is the kind of thing that should, I feel, exist within an art context. It is too off-the-cuff to imagine these two mirrors as a site and non-site, but that is an apt reference, I won't throw it out. What ultimately motivates this repetition of the site is a bafflement at why MOCA removed it in the first place. Huge shoutout to Kim Drew (@museummammy) for calling this to my attention.

I just feel like I have to grab these things, even the ones that get scraped into the Internet Archive. It's an urge that I can't dismiss, even when I can recognize the futility of it. I have to save them.

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Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

comments? questions? tips? pitches? email
greg [at] greg [dot ] org

find me on twitter: @gregorg

recent projects, &c.


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Social Medium:
artists writing, 2000-2015
Paper Monument, Oct. 2016< br /> ed. by Jennifer Liese
buy, $28

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Madoff Provenance Project in
'Tell Me What I Mean' at
To__Bridges__, The Bronx
11 Sept - Oct 23 2016
show | beginnings

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Chop Shop
at SPRING/BREAK Art Show
curated by Magda Sawon
1-7 March 2016

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eBay Test Listings
Mar – Dec 2015
about | proposte monocrome, rose

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It Narratives, incl.
Shanzhai Gursky & Destroyed Richter
Franklin Street Works, Stamford
Sept 5 - Nov 9, 2014
about | link

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TheRealHennessy Tweets Paintings, 2014 -
about

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Standard Operating Procedure
about | buy now, 284pp, $15.99

CZRPYR2: The Illustrated Appendix
Canal Zone Richard Prince
YES RASTA 2:The Appeals Court
Decision, plus the Court's
Complete Illustrated Appendix (2013)
about | buy now, 142pp, $12.99

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"Exhibition Space"
Mar 20 - May 8 @apexart, NYC


HELP/LESS Curated by Chris Habib
Printed Matter, NYC
Summer 2012
panel &c.


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Destroyed Richter Paintings, 2012-
background | making of
"Richteriana," Postmasters Gallery, NYC

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Canal Zone Richard
Prince YES RASTA:
Selected Court Documents
from Cariou v. Prince (2011)
about | buy now, 376pp, $17.99

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