marco maggi


November 7, 2013 - January 11, 2014

Marco Maggi, Volume, 2013. Cuts and folds on 70 35mm color paper, Dimensions and structure variable.
Marco Maggi, HO2 (Helio Oiticica Wall Unit), 2013. Two Metaesquema Turner boxes with cuts and folds on 500 pages each, 9 in. x 9 in. x 3 in.
Marco Maggi, Stacking Quotes, 2013. Cuts on printed stickers in 7 notebooks with canvas cover, invisible shelf, 5 1/2 in. x 11 in. x 7 in.
Marco Maggi, Square Pencil, 2013. Graphite on graphite, 24 in. x 24 in.
Marco Maggi, Landmark, 2013. Pencil on Yupo paper, 24 in. x 24 in.
Marco Maggi, Portable Infinite, 2013. X-Acto knife cuts on solid polycast Plexi wheel, 8 in. diameter x 2 in.
Marco Maggi, Global Myopia (Utah Street), 2012. Convex engraved drawing on surveillance mirror, 36 in. in diameter.
Marco Maggi, Points of View (Drawing Glasses), 2010-2012. Cuts on two high density lenses, 6 in. x 2 in. x 2 in.
Marco Maggi, Plexi Line, 2013. X-Acto knife cuts on polycast Plexiglas, 62 in. x 32 in.
Marco Maggi, White Specific, 2013. White stickers on corridor wall, Dimensions variable.
Marco Maggi, Nine Hundred Windows, 2013. Cuts and folds on 35mm white paper with color background, 60 in. x 60 in.
Marco Maggi, Instant Messages, 2013. Cuts and folds on 700 coin envelopes with colored messages, 60 in. x 60 in.
Marco Maggi, Fanfold Fall, 2013. Wide hanging from ceiling to floor with cuts in both faces, 7 in. wide.
Marco Maggi, Incomplete Coverage on Warhol (Mao), 2013. Cuts and folds on 500 pages, 8 in. x 8 in. x 2 in.

Press Release

"I work to make time visible, and time shows that ideas were always precarious."

For his fourth solo exhibition at Sicardi Gallery, Marco Maggi will present new work made from paper, convex mirrors, and Plexiglas. In each meticulously constructed piece, he tackles the relationships between meaning and information, between making and understanding. The exhibition bears the repeated leitmotif of folded paper, marked by delicate cuts—drawings made with pencil, X-Acto knife, and time. Underneath the cuts, the folded paper constitutes an enigmatic structure that is mysterious and resists interpretations. FANFOLD demonstrates Maggi’s sensitive approach to the problematics of knowledge—his stacks of paper and intricate cutouts suggest ways that overwhelming amounts of information deflect understanding.


Born in Uruguay, Maggi attended the State University of New York, New Paltz (SUNY), and graduated with an MFA in Printmaking in 1998. Since then, his work has been shown in numerous exhibitions, including Functional Disinformation: Drawings in Portuguese, Instituto Tomie Ohtake, São Paulo (2012); Optimismo Radical, Fundación NC-Arte, Bogotá (2011); New Perspectives in Latin American Art, 1930-2006, Museum of Modern Art (MoMA), New York (2008); Poetics of the Handmade, Museum of Contemporary Art, Los Angeles (2007); Gyroscope, Hirshhorn Museum and Sculpture Garden, Washington DC (2006); Drawing From the Modern, 1975-2005, MoMA, New York (2005); Fifth Gwangju Biennial, Korea (2004); inCUBAdora, VIII Havana Biennial (2003); and Global Myopia, 25th São Paulo Biennial, São Paul (2002).


Maggi's work is collected by public and private institutions, including the Colección Patricia Phelps de Cisneros, New York; Daros Latinamerica Foundation, Zurich; Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington DC; Indianapolis Museum of Contemporary Art, Indianapolis; Kemper Museum of Contemporary Art, Kansas City; Museum of Fine Arts, Boston; MoMA, New York; and Whitney Museum of American Art, New York. He lives and works in New York.