Obituary

I saw my first Robert Morris sculpture eight years ago, around the time I moved to New York. I had recently finished with school and the city was already upending my life. I didn’t know who I was or who I wanted to be. Every object and surface, face and friendship trembled with possibility. Contact with anything or anyone threatened to utterly transform me. This was worrisome. How could I change if I didn’t quite know myself? The Morris sculpture – pinned to a wall in a stranger’s apartment in Chelsea – was grey, velvety, untitled, its date unknown to me; it hung alongside other huge, expensive sculptures and paintings, mostly by artists whose names I recognized from museums. This was not a home where I had ever expected to have dinner, but a friend of a friend was house sitting, so I was invited over for noodles. - 八年前，当我搬到纽约的时候，我看到了我的第一尊罗伯特·莫里斯雕塑。我最近完成了学业，这个城市已经改变了我的生活。我不知道我是谁，也不知道我想成为谁。每一个物体和表面、面孔和友谊都因可能性而颤抖。接触任何威胁要彻底改变我的人或事。这令人担忧。如果我对自己不太了解，我怎么能改变呢？莫里斯雕塑——钉在切尔西一个陌生公寓的墙上——是灰色的、天鹅绒般的、无标题的，它的年代对我来说是未知的；它和其他巨大的、昂贵的雕塑和绘画一起悬挂，大多数是由我从博物馆里认出的艺术家创作的。这不是我原本想吃晚饭的家，但是朋友的一个朋友在家里坐着，所以我被邀请过来吃面条。