ArtPace’s exhibition, “It was the best he could do at the moment,” reprise., includes an array of works from the past decade. Together they form a mini-retrospective, both a reprise and a continuation of his 1992-survey exhibition at the Museum Boymans-van Beuningen in Rotterdam. Such a referential approach is typical to Prina’s production—he freely layers associations from the external world (of film, music, and cultural history) and the internal world (of his own artistic past).
Central to the exhibition will be site-specific sculpture based upon ArtPace’s mailing list. Duplicate announcements of the show were printed and addressed for mailing; Prina displays the second set in the gallery as a serial sculpture—box after box of ordered names, potential audience. The institution’s constituents are presented as an index of ArtPace’s reach into the community. This work furthers Prina’s ongoing consideration of the art system by “framing” the objects surrounding its production, in this case, the marketing device of mailed invitations.