and also , I was more then anything , detecting spirits in all of these too. Not to use the silly word of poetic.

There seemed to be impeccable balance between that and conceptual flow that had gotten so light , it was almost as if all thoughts had consumed themselves up in questioning their necessity , and yet remained as if a silent largest shadow of lightest grey , not to let you forget

what deed thinking does versus emotion.

—Kai Althoff

Greene Naftali is pleased to present a second solo exhibition by New York artist Gedi Sibony. In this exhibition, Sibony dramatically heightens the spatial engagement long implicit in his works’ finely-tuned staging. Gradually migrating objects—gathered and set into their roles—transpire along particular sightlines and pathways which he has carefully choreographed via adjustments to pre-existing gallery walls and a transplanted wall from the artist’s studio. A repositioned shelf system too stands as one of a number of ostensibly slight tricks whose elements are called upon to perform new roles, exchanging their attempt at functionality to instead employ their other inherent faculties.

In his practice, Sibony appears to bridge two traditions of artmaking—a highly site-specific staging indebted to minimalism which foregrounds spatial context and the viewer’s perception, and an anti-art strain beginning with dada that questions the fundamental nature of the “art object” both materially and as a categorical term. In truth, while evoking both of these idioms, his interests lie also in more metaphysical concerns—the creation of complex pictorial spaces and a recalling of more ancient purposes for art, which simultaneously tether the viewer to concrete reality while pointing to unknowable possibilities.

Sibony’s work is currently on view in MoMA’s survey exhibition, Contemporary Art from the Collection. He recently took part in the 6th Berlin Biennial and has had solo exhibitions at the Contemporary Art Museum, St. Louis and Gladstone Gallery, Brussels. His work was also featured in the 2006 Whitney Biennial.