skills as photographic and computer-generated images became more prevalent. Choosing to focus on theoretical concerns instead, they deliberately de-skilled their work in order to negate the history of realism in art.
Standing in sharp contrast to the museum's collection of masterful artwork that most people could neither create nor afford, this exhibition is dominated by artist Richard Tuttle's series of provisional five-minute watercolor stains on lined notebook paper. While dressed up in sleek Modernist frames, these untailored gestures remain visually simplistic. In Martin Johnson's mixed-media piece "Do Yu Get It?," the viewer encounters a befuddling mix of a toy car, sloppily hot-glued beads, and a red-lipped Cheshire grin dangling from a spider web. While these works border on self-indulgent, they are playful and genuinely unassuming, trading clarity for intuition. They embody a refreshing transformation of the humble to the grand, which I believe is what caught the eye of their collectors.