“The show takes its title from Thomas Hirschhorn’s Schema: Art and Public Space (2016–22), an exuberant multimedia collage-manifesto”
“Rudimentary and improvisational, Hirschhorn’s patchwork of ideas and contexts places the works in the show under a utopian-communitarian umbrella—exemplifying David Joselit’s claim in his 2005 essay “Dada’s Diagrams” that “the diagram constitutes an embodied utopianism.””
“Hirschhorn’s Schema might usefully be juxtaposed with Dan Graham’s 1966 work of the same name—sometimes taken to represent the apex of early informatic anti-figural conceptualism”
“Graham intended his work to be “completely self-referential” and meant to define “itself in place only as information.””
“In the terms of Bernar Venet—the artist included in the show whose informatic work perhaps resembles Graham’s most closely—the latter’s Schema is austerely monosemic while Hirschhorn’s is ebulliently polysemic”