Degree Critical - Art Review - July 12, 2019
The three-channel film installation that sits as the centerpiece of Hito Steyerl’s exhibition of the same name, Drill (2019) draws in viewers by its sound before its imagery. The clashing, percussive tones of a persistent marching band emanate from the yawning maw of the Wade Thompson Drill Hall at the Park Avenue Armory, where “Hito Steyerl: Drill,” curated by Tom Eccles, is currently on view. As you wander in and out among the rooms of the Armory overtaken by Steyerl’s installations, this throbbing music follows, the connector that binds the disparate analyses of weighty subjects that the artist offers through her work.
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