This volume documents the ongoing dialogue between the artist Sarah Morris and curator Hans Ulrich Obrist. Incorporating subjects as diverse as Robert Venturi, Joan Didion, President Bill Clinton, Chase Bank, Vladamir Nabokov and Philip Johnson, the conversation reveals much of Morris’s approach to her work and the wide range of references from which she draws. Located at the crossroads of Pop, Conceptual art and geometric abstraction, Morris has been composing compositions in painting and film since the mid-1990’s. Her work explores the complex conversation between architecture and power and has been exhibited internationally with solo exhibitions at institutions such as Hamburger Bahnhof – Museum
für Gegenwart, Berlin (2001); Palais de Tokyo, Paris (2005); Fondation Beyeler, Riehen/Basel (2008); Museo d’Arte Moderna di Bologna (2009); Museum für Moderne Kunst, Frankfurt am Main (2009); and Musée National Fernand Léger, Biot (2012). She has executed site-specific installations most recently at the Edward Durell Stone designed Convention Center in Tulsa, Oklahoma (2012); Gloucester Road Underground Station, London (2012); the Federal Courthouse of Bergen, Norway (2011); and K20 Kunstsammlung Nordrhein-Westfalen Museum, Düsseldorf (2010).