There was a moment in the 2001 Andreas Gursky MoMA Retrospective when the Unseen Eye first encountered the artist’s "May Day II, 1998", a rave-scape. The Eye was stopped in his tracks. The work was not so perfect technically, pixellating like mad in the corners with light bouncing off of the Plexiglass in an unyielding fashion, but it was gasp inducing. Astonishing.
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