I read an article in the New Yorker today about Chinese artist Cai Guo-Qiang’s exhibition “I Want to Believe” at the Guggenheim museum in New York. It’s always tough for me to get down to New York to see exhibitions, and I’m especially kicking myself for missing MOMA’s exhibition of Seurat drawings that was there last fall. Cai Guo-Qiang’s show runs through May 28, so it’s possible I may still get down there. His works range from pyrotechnics to various materials that are constructed as large scale installations, such as “Inopportune: Stage One” which was installed at the Guggenheim for his current show.
I’ve been following Cai Guo-Qiang’s career for some time now, especially in terms of the gunpowder drawings that he creates. I’m more drawn to the gunpowder drawings, simply because they’re less flashy than his larger scale installations, and also because I like the idea of his drawings existing as physical evidence of an act which has already occurred. I think many times the vestiges and remnants of an act are more interesting than the act itself.
Clara Lieu 
Kristian and I saw this exhibit when we were in Seattle last month. Slightly different, as the space is smaller there. It was broken into 2 rooms. Unfortunately there were no drawings included. I was still an impressive installation. The car used for the explosion video was probably the most interesting part for me. Perhaps for the same reason you like the drawings – it’s the aftermath of the act.