When people describe Rutherford Chang’s work, you hear words like: obsessive, conceptual, minimalist. These descriptions aren’t wrong, they point to something real in his practice. But they also miss what makes his approach distinctive. Chang worked with objects that industrial culture designed to be identical: records pressed in millions of copies, portraits drawn according to strict house style, coins minted for perfect interchange. His interest lay in the precise moment when the promise of sameness begins to fail, when time and human handling leave marks that transform supposedly identical objects into singular things.

The retrospective Rutherford Chang: Hundreds and…

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