Rich Land, Poor Land, Redux

a small video monitor showing a mountain landscape hangs on a gallery wall, next to a doorway where an adjacent gallery is filled with a landscape of cardboard, clusters of tiny structures on tiled together sheets of cardboard, artworks by ilana harris-babou and michael ashkin, respectively, as installed at carriage trade in nyc in summer 2025
Installation view, Rich Land, Poor Land, at Carriage Trade, with Michael Ashkin’s where hiding places are many, escape only one, 2009-2025, and Ilana Harris-Babou’s Red Sourcebook, 2018, photo: Nicholas Knight

I spent two weeks frustrated and perplexed, wondering how I could have missed Carriage Trade’s summer show, Rich Land, Poor Land. The dark side of land use and Manifest Destiny with Manzanar, Holt & Smithson, CLUI, Wernher von Braun, and a roomfilling Michael Ashkin installation?? Four asterisks and an incisive review at The Manhattan Art Review?? [which I clicked because I was so annoyed by two cranky columns hating on critics at Two Coats of Paint, which dismissed TMAR as mere “Yelp-style blurbs,” and which also misidentified Brad Tr0emel as a leftist. Anyway,]

And then I got an email announcing that the show will reopen this Friday, Sept. 12, at 6:00, with a film screening and reading by Ashkin at 7:30. Which, alas, I will also miss. But the show, at least, will stay open until October 12, so I and you and all your friends can go.

Rich Land, Poor Land, May 29–July 27, and Sept. 12–Oct 12, 2025 [carriagetrade]