Travis Diehl's review of the 2019 Whitney Biennial shines a light on Madeline Hollander's Nosecone: EF (2019):
"For Nosecone: EF (2019), a savvy, Michael Asher–like gesture, Madeline Hollander had two corner-facing segments of the Whitney’s bespoke metal flood barriers, usually tucked away, installed facing Gansevoort Street and the Hudson River. This kind of spectacular defensiveness, beautiful in its way, is as industrially formal as anything a Minimalist could dream up—yet also as callously pragmatic as the insurance any museum must buy. It is also a preview of the kind of thuggish engineering ready to be deployed by a rich island city on the front lines of global warming. Hollander’s piece is the brutalist counterpoint to more polished “institutional critique,” such as The Maid (2018), an HD video by Carissa Rodriguez that grants a cinematographic look at the care given to a sequence of fetal Constantin Brancusi and Sherrie Levine sculptures in various highlife locales."
Here is another piece "by" Diehl -- a March 23, 2019 re-tweet concerning a Parisian brasserie's attempt at riot-proofing:
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