Money, with Space Between 1994

Editor: So, this is John Baldessari’s “Money, with Space Between” from 1994, a mixed-media collage. The two panels are compelling; I immediately notice how the vibrant, yet simple shapes obscuring the faces disrupt what might otherwise be interpreted as straightforward commercial transaction. How do you interpret this work in the context of the '90s? Curator: It's fascinating how Baldessari consistently interrogates the language of images. Here, in the '90s, amidst growing economic disparities and a burgeoning media culture, this piece strikes me as a commentary on the obscuring power of money. What happens when faces, identities, and ethical considerations are strategically hidden from view? Who benefits when we ignore "the space between?" Editor: The shapes and the obscured faces definitely invite those questions. It feels pointed, this critique. Do you see an element of institutional critique as well? Curator: Absolutely. Baldessari often examines the art world's own complicity in larger systems of power and representation. The photographic source material hints at photojournalism, a genre often claiming objectivity, but never entirely neutral. The brightly colored circles—so characteristic of Pop art—highlight the artificiality of the image and how easily meaning can be manipulated. Do you think the visual language resonates with the postmodern critique of originality and authorship? Editor: That's interesting, given that the art work has qualities of Pop art. Now that you mention that context, his work resonates even more strongly with its institutional setting. I never considered Baldessari's artistic commentary as it connects to larger systems of power and representation, it sheds light on a nuanced visual language. Thanks so much. Curator: The pleasure is all mine. Considering Baldessari through this lens, focusing on socio-political contexts and the museum's role, is really essential to understanding the depth of the image and visual impact of money.