Klara Liden, born in Sweden in 1979, he made his museum in New York solo debut at the Museum of Modern Art with a series of projects on time resistant MoMA show, which offers a transfer fee and powder at home and poor fair.

At the heart of its installation in a small gallery with windows on the second floor of the museum, Ms. Liden has placed a large white box the same as Sheetrock walls of galleries. Painted white, which occupies most of the room, leaving only narrow passages in two parts.

The reference is to an essay of 1976 by the critic Brian O’Doherty called “Inside the White Cube”, which used the term “white cube” to describe the current downward gaze contemporary exhibition space. Interpreted as to give the estimated value of art, to distinguish it as something pure and time, the freedom, especially in a world of things used and used.

Ms. Liden plays with these ideas. Its “white cube” is a rectangle, which is beyond, not in the way brightness is less than pristine, and there are marks from sliding along the base. To a large extent, that has marred the white box and the gallery around him, covering the floor of black tar paper.

Not left his monumental cube sitting there. It makes the work, he shelves. Stacked on top of it are the blocks of flat cardboard boxes, such as supermarkets have all day, held up by the scaffolding industry. Anyone who has lived in an apartment in New York knows the cramped rating: Rat Pack urban storage.

Finally, to dispel any sense of eternity, it is entertainment. A video monitor located at the floor in a corner, and a short video, about half in three minutes, the drama. It contains a solo, Ms. Liden, Manhattan is on the edge of the East River, near the Williamsburg Bridge. It is the morning, perhaps in the morning. By chance, on several occasions, small stones as jumping in the water to a soundtrack of music by the duo trancelike Stockholm Tvillingarna.