![Christopher Wool](https://img.artlogic.net/w_966,h_724,c_lfill/exhibit-e/556d89b2cfaf3421548b4568/aea8438322bd708305c63a587c3e305a.jpeg)
![3 wire sculptures and a large abstract mosaic installed in a raw office space](https://img.artlogic.net/w_1800,h_1800,c_limit/exhibit-e/556d89b2cfaf3421548b4568/dcab55e878c30a9ca64012ffa708f6c2.jpeg)
A view of Christopher Wool’s show “See Stop Run” at 101 Greenwich Street. Credit: Christopher Wool
Christopher Wool
Through July 31. 101 Greenwich Street (entrance on Rector Street), Manhattan
The dilapidated 19th-floor office space hosting Christopher Wool’s recent sculptures and paintings could not be more simpatico with them. In its state of abandoned tear-down, the venue offers melodious visual rhymes: electrical cords dangling from the ceiling ape Wool’s snarls of found-wire sculpture; crumbling plaster mirrors the attitudinal blotches of his oils and inks. Scrawls of crude graffiti or quickly penciled notes left by workmen emulate the tendril-like lines dragged through Wool’s globular masses of spray paint. The space is a horseshoe-shaped echo of Wool’s work — raw, agitated — and the restless elegance he wrenches from a feeling of decay.
Read full article at nytimes.com