David Rhodes reviews Shapeshifters at Luhring Augustine, New York, on view through August 12, 2016.

Rhodes observes: “… gone today are the conscious strictures and aesthetic divisions articulated in 1967 by Michael Fried in his germinal essay ‘Art and Objecthood,’ though some of the exhibition’s earliest works are from that moment. There are works here that evince playfulness or Dada disregard for convention, such as Martin Kippenberger, for example, as well as a compositional exuberance of both materials and pictorial forms that ultimately set an overall shape. That is to say they find shape by an excessive build up of material itself, as in Jeremy DePerez’s Untitled (Unknown) (2016), or in working with one form or another, such as Imi Knobel’s Kartoffelbild 15 (2012) leaving those shapes to define an external perimeter edge.”