Abstract
In 2021, the Suter Gallery (Nelson) mounted a group show of Aotearoa artists whose work embraces absurdity. One of Bryce Galloway’s offerings to the show was the catalogue essay, reworked and re-presented here. The essay investigates whether the well-worn proposition that absurd art finds greater currency in times of socio-political duress still holds in the face of today’s accelerating online narratives and divergent internet realities.
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