![]() ![]() As Haacke wrote in September 1967, his works register and intervene in institutional environments: viewers “see the frame” and become “part of a larger system.” Moreover, by dissolving the art object into the surrounds, his artwork-and others in Sharp’s show-rejected the program of the 18 monumental modernist sculptures commissioned for the Olympic Freeway. The electric grid, a source emphasized by the exhibition’s Spanish-language title, powered Wind Room’s air flows. ![]() The exhibition formed part of the “cultural Olympics” accompanying the Mexico City Games. For instance, Haacke’s Wind Room (1968), which he realized for Willoughby Sharp’s Cinetismo: Esculturas electrónicas en situaciones ambientales (1968), employed fans to subtly intervene in the ecology of the Museo Universitario de Ciencias y Arte at the Universidad Autonóma de México (UNAM). I set Haacke’s environmental projects in a continuum with his broader oeuvre and argue that they engage in “systems politics”: the identification and interruption of normally naturalized systems. ![]() ![]() This paper analyzes a series of Hans Haacke’s artworks realized at transnational shows held in Mexico, Canada and Argentina between 19. ![]()
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