Featured Review: Gedi Sibony: My Arms Are Tied Behind My Other Arms 

Gedi Sibony: My Arms Are Tied Behind My Other Arms Reusing discarded carpet, Sheetrock, brown-taped drop cloths, and freighting crates and blankets — the material language of contractors and art installers alike — New York-based Gedi Sibony creates a poetical site-specific installation that dismantles and exposes the intricacies and immediacy of installations. Leaning against walls or draped over partial partitions, his neutral-toned assemblages softly and economically recompose the main gallery space in a way that feels newly austere but fundamentally domestic. Narrow halls lead to larger rooms, which, in turn, are sectioned off into smaller, more intimate quarters. The engineering is basic cause-and-effect — gravity roots a freestanding door to the gallery floor; the conceit is unassumingly modest — two carpet pieces curl up to touch at their far corners like a pair of hands. Art formalism, here, is discussed in the global vernacular of fray, wrinkle and shadow. Underscoring Sibony is Bruce Nauman: Dead Shot Dan, a selection of classic photos and videos from the '60s, '70s and '80s in which Nauman plays an Everyman documenting the self trying to make plain sense of the self — a quixotic quest that amounts to a series of slapstick pratfalls shrugged off then compulsively re-attempted and perhaps summarized best by the image of the artist's arms roped to his back, entitled, Bound to Fail. Altogether, a perfect exhibition. Through April 19 at the Contemporary Art Museum St. Louis, 3750 Washington Boulevard; 314-535-4660 or www.contemporarystl.org. Hours: 10 a.m.-5 p.m. Wed.-Sat., 11 a.m.-4 p.m. Sun.

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