EXPO Chicago

Among the works on view in Booth 221 will be Terry Adkins’ arresting wall-mounted sculpture Bona Fide (2000). Made using industrial clothing stencils the artist found on the site of the former Finesilver uniform manufactory during an artist residency the artist attended there, the work is an homage to the people who worked in the building while it was a textile factory. Also on view will be Pat Steir's mesmerizing Dozens Waterfall (2000–15), part of the artist's ongoing Waterfall series, begun in 1989. Influenced by historical Chinese literati painters’ approach to nature, the artist pours and flings paint directly onto the canvas in a bid to bring her technique into radically closer contact with the subject she represents, both depicting and enacting the waterfall. Adrian Piper's seminal work Food for the Spirit (1971), which formed part of the artist's recent, groundbreaking retrospective at the Museum of Modern Art will also be on view. Made during an intense period of study the artist engaged in over the summer of 1971 with Immanuel Kant’s Critique of Pure Reason (1781), Piper photographed herself during this process both as a way of documenting her performance, and as a hedge against the possibility she perceived of losing herself in Kant’s text. Dan Colen’s Aesyle (2015) is from his recent Mailorder series, which was shown earlier this year in his first solo exhibition with Lévy Gorvy. Using source imagery taken from meticulously styled and heavily produced retail mail order catalogues, these paintings continue Colen’s decades-long exploration of the forces of desire and consumption. An extremely rare, early work by Seung-taek Lee, Untitled (1963), will also be brought to Chicago. Comprising a length of knotted rope that has been wound repeatedly around a canvas support, covering it, the work is a prime example of the artist’s ability to create works that transcend simple categorization.