Here at Art Box, we encourage some of our favorite people in the art world to contribute with their takes on recent museum and gallery experiences. Hikari Yokoyama, an accomplished art adviser and a curator writes about the recently opened Anish Kapoor exhibition at New York’s Guggenheim. It runs through March 28, 2010. This week, I drove uptown with some friends to attend the Anish Kapoor opening at The Guggenheim. Kapoor is well known for his shiny, simple curved sculptures that hold convex or concave reflections of the forms' surroundings. The last I saw his work, was at his solo effort at the Gladstone Gallery, where I couldn't resist running my finger over a long pungent crimson wax turd lying across the floor. Kapoor is an artist that I will always make the effort to see when I have the chance; his work is conceptually rigorous, but always pleasing to the senses. For this exhibition - I came with no expectations or knowledge of what I was going to see. I was disappointed to find out that they weren't keeping all of the galleries open so I could do my usual circular sliding-in-heels journey down the ramp. We wandered through the galleries housing the permanent collection, confused about where this Kapoor exhibition actually was. His work is normally large scale and prominent and usually placed in open spaces where the sculpture draws in the vacant margin around it. Instead, this time I was surprised to walk around a corner and up a short set of stairs, I found a crowd of people lining up to peer into what seemed like nothing. And by nothing, I mean a black void perfectly framed by white wall. The line coagulated as people got to the front and peered in, straining to see something, some shielding their eyes as if looking into a glare or making little binoculars with their hands as if imaginary lenses would reveal something unseen to the fingerless eye. I heard an off-hand comment that this was a joke on or for the art world, come all the way uptown to stand in a line of well dressed people to crane your neck and stare at nothing. The piece is entitled Memory and commissioned by Deutsche Bank. Upon further exploration, we discovered that you could go around and see the steel encasement that had blocked out all light to make the void. It was heavy, rusty, curvaceous riveted steel - a bulging orb bursting out of the white rectangular back room. Seeing this more literal explanation of the absurd darkness on the other side, was enlightening and surprisingly disappointing. But observing the structure itself granted some gratification as to evidence of the craft and the labor that went into this piece (the black void ended up not being the same as staring into a closet) but at the same time, the mysterious feeling of peering into infinite space was grounded by a quick, concise understanding of the reality behind the trick. Socially, the event was calm and subdued. I said hello to Hilary, the ever gracious and enthusiastic director of the YCC, we had one more drink and left into the warm night. [gallery columns="4"] Hikari Yokoyama is based in New York City. She pursued her studies in the fine arts and art history at Columbia University and the University of Chicago. She has worked in various capacities, including gallery assistant, non-profit curatorial director, and acquisitions for corporate and private collections, always maintaining art at the center of her professional orbit. She currently works as roving director to Gresham's Ghost and manages a private collection. Her crayon pusher parents encouraged her to make art instead of bickering with her little sister. Now she is intent on adding fuel to the ever-evolving and dynamic contemporary art world.

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