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Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. Since the late 1960s, Asher has been creating situations that have not only taught us about the conditions and contexts of contemporary art, but have worked to define it.

In Situation Aesthetics, Kirsi Peltomaki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional representatives (including gallery...