Home Run (1993), an installation created by Gabriel Orozco in a building across from the MOMA, presents oranges behind the window panes of an apartment building, conflating the perishable and impermanent oranges to the permanent presence of bronze sculptures in the museum garden. Through this connection emerges a correspondence between the public space of the museum, run by curators, and the private homes of the residents displaying the oranges.
Rachel Whiteread’s work House (1993), an internal casting of a house present in an otherwise demolished working-class neighborhood in East London, exposes the negative imprint of a private space, and in doing so also creates a public ‘blemish’ by which past loss is distinguished.
Both Orozco and Whiteread’s works invalidate the use and value of the subject object. By placing the Oranges behind windows, Orozco removes their original edible purpose and diverts their use to spectacle. In a similar manner, Whiteread’s House replaces the useful and valued home with a purposeless internal casting, leaving only imprints of what were once functional aspects of the home. Moreover, both works utilize the concept of private space to collapse the workings of a larger public space they are implicated in. By presenting sculpture from a private locale, Orozco’s Home Run negates the supposed importance of the public exhibition space. Along a similar vein, Whiteread’s House exposes private space to create a public mark, and in doing so critiques the capitalist development responsible for the house’s demolition and the loss of the working class culture in the East London.