XIAO LU
Mar 01, 2019
2 minutes
MICHAEL YOUNG
hen Xiao Lu picked up a pistol and fired two shots at her own installation (1989), she stumbled into a global notoriety, which has shrouded her practice ever since. Displayed in the seminal 1989 “China/Avant-Garde” exhibition at Beijing’s China National Art Gallery, comprises two phone booths featuring a photograph of a man and a woman, respectively, with a telephone hanging off a in his own, political terms to media and their peers. Adding to the confusion, art-historical accounts perpetuated Tang’s view of the events, overwriting Xiao’s intentions, and mistakenly attributing the work to both artists.
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