Anna Kustera Gallery is pleased to present a solo exhibition of new work by Gregory Green. Along with his now iconic “explosive” works, the exhibition will showcase an installation of the artist’s worktable that simulates the lair of a mad bomber, complete with glue, drills, duct tape and other innocent looking objects capable of mayhem in the wrong hands. This cluttered, clandestine place where it all begins is brought center stage; a theatrical space that can be thought of as an artist’s craft taken to its self-destructive conclusion. Undefined dissent remains the most transgressive human response of them all.

Green’s effigies of bombs throb with a kind of muted danger. Each work represents its own complicated universe, dialogues that tell parallel tales of construction/ destruction, art/reality, activism/formalism. As a third culture kid, Gregory’s provocative works expand the parameters between art and direct action, culture and social commentary, while also bridging the evolution/de-evolution from Modernism to Altermodernism.

It might be tempting to view Green’s singular body of work as a shrewd response to the contemporaneous surge in worldwide terrorism. In fact the artist began making his potently sterile bombs and radical mechanical devices in the late 1980s. He has, in a sense, become the quintessential artist of the 9/11 decade, presaging unquantifiable matters such as extremist activism and governmental control, while exploring the unreliability of historical perspective and the essence of the creative drive itself.

With over 35 one-person exhibitions and numerous group exhibitions, Gregory has played a significant role in the contemporary art discourse of the last 20 years. His work is included in major public and private collections, including the Museum of Contemporary Art, Los Angeles; the Tate Gallery, London; the Saatchi Gallery, London; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Mori Museum in Tokyo and MAMCO, Geneva among others. His installation “Worktable #9, (Minneapolis) he of Righteousness” was recently featured in the exhibition, Absentee Landlord, curated by John Waters at the Walker Art Center in Minneapolis, Minnesota.

“102. SECOND PRINCIPLE. If a change is made that is sufficiently large to alter permanently a long-term historical trend, then it will alter the society as a whole.” Ted Kaczynski, Sept. 19, 1995