Gregory P in The New Yorker

P’s performance at his opening at the Gallery Diet -the kind of free wheeling participatory happening for which he’s best known-ended with the artist surrendering his naked body to the audience. The show, by comparison, is anticlimactic. The curious hodgepodge of photographs includes scenes from a collaborative, mud-slinging performance with Tim G. and colorful but solemn portraits of African-Ecuadorian children. The show’s sweet spot is an image of P’s head nestled under the pregnant belly of his Ecuadorian partner. A grid of framed white-on-black texts attempts a playful mix of sexual innuedo and art-critical and racial commentary but instead strikes a note of pose-conceptual prosaism.

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