“On one stack, a yellow rubber glove was laid out with cartoon eyes drawn over the knuckles, rolling themselves to the side, as if surveying the room. Propped above was a sign proclaiming ‘WHAT A DUMP’.” And with those words, curator Jarrett Earnest describes a crafted clue planted by the conceptual artist Ray Johnson, whose collages are currently on exhibit at David Zwirner’s West 19th Street gallery in New York City.   

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When we first became introduced to MADSAKI’s work, he was gaining critical and cultural attention with his Wannabie’s series, crude, graffiti-like interpretations of classic and famed artworks from the history books. Your Renoirs, Jasper Johns, even Matisses. The effect of that series was to seriously break down our conceptions of what makes a Master, who controls our cultural capital and how we elevate artists to speak for our eras of existence. It was also a play on simply understanding the psyche and lexicon of art, and as a child of the 1980s and a child of immigration in America, MADSAKI was speaking for a generation of us—although we appreciated art for what it was, we were not invested or allowed…

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