Administrative drudgery might seem an unlikely focus for a show, yet curator Colby Chamberlain manages to fill an office-size exhibition space with paper trails generated by ten artists. Work in “The Dotted Line” engages aspects of social, political and institutional critique with humor, but the most powerful pieces also suggest a certain sadness.
Michael Rakowitz's Return largely takes the form of correspondence and receipts generated by the artist's efforts to rekindle his grandfather's import-export business, now 40 years defunct. Rakowitz's efforts to ship dates from Iraqi orchards prove futile with the majority of them being held up at customs and spoiling as a consequence. Noting the ridiculousness of delaying fruit for national security reasons, Rakowitz points out in a wall text that the dates become a metaphor for Iraqis being denied refuge in the United States.
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