For David Hammons, the context of his showing will inevitably foreground certain readings of his practice over others – a retrospective at New York’s MoMA will carry a different message to one at the Studio Museum in Harlem. His exhibition at White Cube is forced to grapple with questions of artwork and commodity, especially given the market’s recent voracious appetite for Hammons’s work. On the ground floor are four drawings, each made by repeatedly bouncing a sullied Spalding basketball against paper. Jutting…
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