“Red, White, Yellow and Black: 1972–73”

Limned by reflections of a low sun off the Hudson River, the Kitchen’s temporary gallery at 163B Bank Street in New York offered a perfect foil to the black-box ambience of the institution’s permanent space, which is currently under renovation. A row of eight-foot-high, west-facing windows cast a flush of late-afternoon light into the fourth-story loft at Westbeth, a Bell Laboratories building renovated by Richard Meier in 1970 when it became housing for artists. Echoing the space’s external fenestration was a diagonal arrangement of ten cathode-ray tube televisions showing grainy footage of waterways, including the aforementioned river. A stack of three additional monitors nearby supplied a live feed of viewers near the installation’s centerpiece: a plastic fountain continuously cycling synthetic orange juice.