Sheila Hicks

In the art-market documentary The Price of Everything (2018), Amy Cappellazzo of Sotheby’s suggests positioning works in a corporate atrium as a one-way route to career death. As the auctioneer sees it, once you wind up in the lobby, there’s no getting out. It seems an irresistibly knowing gesture, then, to mount an ambitious show of textile works – a medium, in a less appreciative era, synonymous with lobby art – within the entrance hall and stairwell of a 1960s corporate block. - 在艺术市场纪录片《万物价格》（2018）中，苏富比的艾米·卡佩拉佐（Amy Cappellazzo）建议将公司中庭中的作品定位为职业死亡的单行道。正如拍卖商看到的那样，一旦你在大厅里出现，就没有出去了。那么，在上世纪60年代一个商业街区的入口大厅和楼梯间举办一场雄心勃勃的纺织品展览似乎是一种不可抗拒的明智的姿态——一种媒介，在一个不那么欣赏的时代，与大堂艺术同义。