This volume takes stock of critical perspectives on the work of New York–based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors—Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them—offering an invaluable reference for any reader coming to terms with his artistic production. The volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.

This volume takes stock of critical perspectives on the work of New York–based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors—Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them—offering an invaluable reference for any reader coming to terms with his artistic production. The volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.

This volume takes stock of critical perspectives on the work of New York–based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors—Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them—offering an invaluable reference for any reader coming to terms with his artistic production. The volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.