Eugène Atget's Parisian storefronts paired with Thomas Struth's desolate views of Wall Street; Charles Sheeler's studies of Ford Motor Plant contrasted with Bernd and Hilda Becher's Blast Furnace series; Walker Evans»
sharecroppers alongside Rineke Djikstra's troubled late - twentieth - century teens.
With that show, we are told, a canny critic inaugurated the enticingly slick and brainy strain of»80s art, and we might envision a gallery space in which Richard Prince's Marlboro man gallops
alongside Cindy Sherman as she mugs for the camera, with Sherrie Levine's rephotographed
sharecropper grimacing nearby.