Stefan Brüggemann

A Mexico City artist who also lives and works in London, Brüggemann takes a page out the text-based playbook of late-’60s Conceptual Art, suffusing the era’s cerebrally opaque aesthetic with pop-cultural bad-boy attitude to create works (sculptures, videos, paintings, drawings) that are part Richard Prince, part Joseph Kosuth. His installation here—the latest iteration of his ongoing series, “Headlines and Last Line in the Movies”— comprises mirrored panels spray-painted with the final bits of dialog from Citizen Kane, overlaid with newspaper headlines from the week in which the work was made.