Two guys who do a lot of research for their art. Komar and Melamid take surveys on what people like and don't like about art, then based on the scientific results they make paintings to suit. Above left, Italy's Least Wanted, and above right, Italy's Most Wanted. It should be noted here that Italy's tastes were found by the surveyors to be among the most malleable -- when asked if they prefer indoor or outdoor representations, a common answer from Italians was "It depends." Large or small images? Depends. Komar and Melamid decided to "complement their ambiguity as a departure from the norm" since it would lead to more options and more art -- thus, a large and a small version of each painting was mounted as part of the show.
Bertrand Lavier's collection of heavy equipment decorated up for Christmas. I guess.
Plaza by Juan Mu˝oz, a collection of sculptures which make you the subject of an amused gaze. What are they giggling about as they watch you?
And more, and more and more...
...Roni Horn's You Are The Weather, a series of extreme close-up photographs of a stunningly, beautifully, expressively plain woman up to her neck in water. From one photo to the next, the only difference might be a squint of the eye, or a small wave pattern retreating. Accompanying the photographs, inlaid in gold on the black floor, were words such as "foggy", "nice", "dry", "beautiful".
...Rineke Dijkstra's beachportraits series -- photographs of adolescents standing upright and facing the camera, taken on various beaches around the world. The only identification given to each piece is the name of the beach, the country it's in, and the date the photo was taken. Coney Island really is recognizable just from the way kids there carry themselves.
...Ann Hamilton's Bearings, a circle of sheer black fabric hung above from the ceiling, spinning and spinning and spinning around like a giant, haunted sufi dress.
...Jan Fabre's entomological dresses and other articles of clothing -- covered entirely with lacquered and preserved beetles.
...Reiner Ruthenbeck's simple work with a huge title: Endlose ▄berkreuzung Schwalz-Wei▀ auf zwei Spiegeln I. Two large, square mirrors facing each other, set apart just far enough that you can stand between them. One mirror with a black stripe crossing it on a diagonal, the other with a white stripe across the opposing diagonal. You, standing in the middle, looking at yourself amidst a black-and-white "X", repeated to infinity.