By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
One of the most impressive installations is Olafur Eliasson's Light Ventilator Mobile, whirring like helicopter blades and isolated in a room at the rear of the space. Created from a fan, a lamp, some pipe, cords, and rope, the kinetic sculpture leisurely spins around the room, blistering the walls with a ball of light that eerily resembles a penitentiary spotlight searching a jail yard for escaped cons. The Danish-Icelandic artist made a huge splash last year with his four soaring man-made waterfalls cascading into New York Harbor, in a commissioned installation that ran from June to October at a cost of $15 million.
Hanging from the door frame leading to Eliasson's whizzing piece is Trisha Donnelly's Untitled (T), rendered from long white pine needles and bay leaves that look like gargantuan sprigs of mistletoe.
While some unimpressed students gathered to debate whether Tom Friedman's stack of Styrofoam cups was a "joke," others lined up to try out Janet Cardiff's booming Feedback installation. The Canadian artist created the interactive piece using a Marshall amplifier and Jimi Hendrix's "Star-Spangled Banner."
As one of the kids pressed his foot to a pedal, the gallery exploded with the sounds of Hendrix assaulting guitar chords and youngsters shrieking in delight. A museum guard showed up as if on cue.
"This is better than Guitar Hero," cracked the boy stomping on the pedal.