Gagosian Paris presents key works by Bruce Nauman spanning three decades. Since the 1960s, Nauman’s radical interdisciplinary approach has challenged conventions while producing new methodologies for creating art and meaning. His rigorous, ascetic engagement with the existential dichotomies of life/death, love/hate, pleasure/pain has embraced performance, video, holography, installation, sculpture, and drawing. From the attitudes and forms of his Post-Minimalist and Conceptual work to his most recent sound installations, persistent themes and ideas appear: the use of the body as material; the relationship between image and language, art and viewer; and the generative interaction of positive and negative space. William T. Wiley or Ray Johnson Trap (1967) is an early example of

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