Powder-coated aluminum, yellow paper, clothes hangers, hot glue
Scale relative to Robert Smithson's original nonsites
76 percent (red)
77 percent (gray)
100 percent (beige)

Entropy For Sale

In the United States, the greatest performers are the ones who kill themselves. Elvis. Marilyn. Jimi. Kurt. Some say this is because we feel a tragic loss of love and profound regret for the creative potential that has been wasted, all the films and music that we will never have again. Maybe so. I think these performers are the greatest because we appreciate the fact that they did us a favor. They understood that in order to be truly loved, they needed to dispose of their limited physical bodies so that their unlimited virtual images could live forever, move freely about the world and be in a million places at once, and never have anything
to compare to except other images.
— Joe Scanlan, in an interview with French critic
Elisabeth Wetterwald

Americans love destruction. Since September 11, 2001, it has become ever more apparent that "things that fall" present unrivaled opportunities for emotional manipulation, economic profit, and political gain. (Even the phrase itself, "since 9/11," is a reliable preamble to issues worthy of being exploited.) Whether world leaders, stocks prices, Martha Stewart, or the World Trade Center, each thing that falls marks a downward motion that inspires widespread speculation about its eventual rise. It is a kind of blood lust. Not for the destructive event itself, but for the profits to be made after the destruction has taken place. Austrian economist Joseph Schumpeter called this cyclical capitalist drive "creative destruction." By his definition, capitalism cannot advance without perpetually destroying itself in order to profit from its own regeneration.

This reflex has become so natural to American culture that its media, its citizens, its politicians and its stockbrokers all crave things that fall solely for the gains that are certain to follow. Even Robert Smithson, the conscience of American Art, understood that re-organizing entropy into containers for distribution and sale was not only a way to make the concept of entropy visible, but to profit from it as well. Just before he died, Smithson said as much when he told Moira Roth it was time for artists to stop trying to transcend the corruption of commercialism and industry and bourgeois attitudes. His current hagiographic treatment to the contrary, when Smithson drew a comparison between the rosy escapism of art and the cruddy workings of commerce, he sided with commerce.

Thus a great shift is occurring in the American psyche. Where for the past forty years we have been obsessed with the economic potential of upbeat Warholian celebrityăthe belief that riches and fame can happen to anyone, and everyone will get their fifteen minutes' worthăwe are now obsessed with the economic potential of downbeat Smithsonian entropy, and the belief that everyone and everything will have its fall.

Meaning: not only has America's mood changed, but its profit motive has as well. The dawning of the Smithsonian Era is not something to be sad or uncertain about, it's something to be invested in.

Death! Destruction! Hurricanes! Empires! Snowflakes! Forsythia! Entropy! It's all here, organized in nice, durable aluminum bins that are pleasing to look at but difficult to understand. And best of all, they're for sale. Entropy for Sale.


Fake Nonsite (red)
$40,000 shipped

Fake Nonsite (gray)
$40,000 shipped

Fake Nonsite (beige)
$38,000 shipped