Article by MACP fellow Lux Bai entitled "Teiji Furuhashi: Lovers at the Museum of Modern Art&qu

Standing solemnly as an apocalyptic coda to Nan Goldin: The Ballad of Sexual Dependency (1985) at the Museum of Modern Art, Teiji Furuhashi: Lovers features an eponymous installation that invites viewers to interact with bare apparitions through multimedia technology. In contrast to the Goldin’s brutal details of sex, drugs, and violence during the 1980s in Lower Manhattan, Lovers (1994) displays nudity in an austere, almost asexual manner. Nonetheless, the Japanese artist addresses contemporary love from a similar standpoint as his intense New York neighbor: ars longa, vita brevis. This marks the first time Lovers has been exhibited since its inauguration at MoMA in 1995, one year before the artist’s death of AIDS-related complications at thirty-five. Reiterating the universality of alienation, especially the isolation of sexual minorities, the exhibition is particularly pertinent today, as discrimination has resurfaced since the recent presidential election.

The monumental entrance of Lovers starkly displays the artist’s name and the artwork title high above my head. Below, a sea of funereal blackness confronts my eyes. Such design seems to suggest that I should not enter if I am afraid. So I do.

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