Sunday, Jan 17, 2010
by PopMatters Staff
by Arthur Lubow
The New York Times Magazine (15 January 2010)

“I first encountered Tino Sehgal’s work under ideal conditions: total ignorance. Happening to be in Berlin in 2006 at the time of the city’s art biennial, I heard from an art-dealer friend that there was one exhibition not to miss. “I won’t tell you anything more,” he said, as he walked me to the site and bid me farewell. I trod up a creaking staircase in a building from the turn of the last century and entered a decayed ballroom, its ornate moldings and gilt mirrors testifying to a more glorious past. Lying on the floor, a man and a woman, fully dressed, were embracing languidly. There was no one else in the room. My presence went unacknowledged. In a state of mounting confusion and embarrassment, I stayed until I could stand it no longer, and then I retreated down the staircase. Out on the street, I sighed with relief, because I once again knew where I was.”


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