Adam Pendleton Interrogates Ownership of Form in New Furniture Exhibition

2 hours ago7 min read1 comments

Friedman Benda’s New York gallery transforms into a conceptual arena with Adam Pendleton’s 'Who Is the Owner of Geometry, Anyway?', an exhibition that positions furniture as a medium for probing questions of power, identity, and abstraction. Pendleton, celebrated for his 'Black Dada' practice that collages historical narratives and visual culture, presents a series of chairs, tables, and shelving units that defy simple categorization.These are not merely functional objects but articulate statements, challenging the neutrality often ascribed to geometric forms and asking who holds the authority to define and deploy our visual languages. The works, characterized by sharp lines, fragmented patterns, and stark monochromatic contrasts, operate like physical algorithms.A bookshelf might reference both the logical systems of Sol LeWitt and the disruptive aesthetics of digital art, while a bench incorporates glyph-like cutouts that suggest an open-ended script. This approach resonates deeply with contemporary creative practices, mirroring how artists use AI not as a crutch but as a collaborator to dismantle and reimagine artistic canons.The exhibition title itself serves as a pointed commentary on ongoing debates within art and design circles concerning originality and authorship. By presenting these interrogative typologies in a leading commercial gallery, Pendleton also critiques market-driven categorizations, dissolving the artificial boundaries between high art and functional design.Echoes of radical design history, from the Memphis Group’s playful subversions to Lynn Hershman Leeson’s tech-infused speculations, are present, yet Pendleton’s voice is unequivocally of this moment. Curators such as Michelle Kuo observe that his work 'spatializes text,' inviting viewers to navigate a fragmented narrative.The deliberate use of industrial materials and precision craftsmanship ensures these theoretical explorations remain grounded in a tangible reality. The implications of the show are significant, encouraging a design philosophy that embraces ambiguity and inquiry over definitive solutions.In an age saturated with AI-generated content, Pendleton’s meticulously composed, human-driven geometries stand as a critical assertion: tools are only as powerful as the consciousness behind them. The exhibition does not simply occupy space—it actively reconfigures our perception, proposing a world where every form is politically charged and semantically rich.

#art exhibition

#geometry

#furniture design

#Adam Pendleton

#Friedman Benda

#gallery

#featured

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