Gedi Sibony's latest exhibition, "The Invisible Point," opened at Greene Naftali in New York, marking his eighth solo show at the gallery since 2008. The show features his signature assemblage sculptures crafted from street finds and discarded materials—including wooden bookshelves from trash dumps, broken plant stands, wire scraps, and a broomstick—alongside restrained, barely-there paintings. The press release, just four sentences long, describes his process as "powered by an intuitive momentum" and the works as "objects drafted from remnants and castoffs." Sibony's practice extends a tradition from Cubist collage through artists like Louise Nevelson, Robert Rauschenberg, and Richard Tuttle.
This exhibition matters because it reaffirms Sibony's unique position in contemporary sculpture, transforming humble castoffs into what the article calls "magical frozen moments." His work has earned a place in major institutional collections worldwide, including the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. The show also highlights how Sibony navigates art-world debates around zombie formalism and provisional painting without fitting neatly into either category, demonstrating the enduring power of materially modest yet conceptually rich art.