Showing What Has Been Forgotten

I first encountered Buzz Spector’s work in 1996 at the now defunct Roy Boyd Gallery in Chicago. The centerpiece of that show was Marcel Broodthaers’s catalogue raisonné transformed by Spector’s signature method of tearing each page in successive, jagged-edged vertical strips, from the centerfold outward. In this work he also painted the pages in white gesso. The knowledge-bearing resource becomes a perpetually open but unreadable object, richly symbolic but illegible in