We do not always eat because we are hungry or build for shelter. But that is what makes living, and this show, sweet.
What the press release belies in its appeal to a naïve phenomenology, unencumbered by any prior art historical knowledge—an approach reproduced in the story of the collection’s acquisition by art world outsiders—is that both the conceptual apparatus of the show and our interest in its objects derives from a strong nuclear force internal to the collection, as opposed to the weak nuclear force of its story. These are not anonymous personal artifacts or wayward antique photographs in a flea market rummage bin, and thus, as the owners’ persistent attempts to legitimize the paintings suggests, they are more lost than found objects.