Domus magazine calls Triple Candie "one of the most mysterious and creative art institutions on the contemporary scene." Cofounded in 2001 by Shelly Bancroft and Peter Nesbett in Harlem, Triple Candie started as a more or less conventional nonprofit art space in an unconventional location. In time, however, dismayed by the dissolution of the alternative-space movement in New York, Bancroft and Nesbett adopted a radical new philosophy, jettisoning art and artists and instead producing exhibitions without the involvement of artists. David Hammons: The Unauthorized Retrospective consisted of photocopies of brochures, catalogs, and Internet printouts. Cady Noland Approximately: Editions and Sculpture, 1984-1999 included 13 sculptural surrogates built from incomplete information found on the Internet. Maurizio Cattelan Is Dead: Life and Work, 1960–2009 was a heavily researched museological obituary for the artist-trickster. Outwardly absurd, even perceived by some as irreverent, these projects are in fact deeply serious. Triple Candie has inserted an editorial viewpoint into curatorial practice, injecting it with a criticality normally sacrificed for the sake of diplomacy and promotion. There are no artworks. There are no artists. There is only the exhibition. This winter Triple Candie relocated from Harlem to Philadelphia.

Presented by the CCA Wattis Institute for Contemporary Arts

Founding support for CCA Wattis Institute for Contemporary Arts programs has been provided by Phyllis C. Wattis and Judy and Bill Timken. General support for the Wattis Institute provided by the Phyllis C. Wattis Foundation, Grants for the Arts / San Francisco Hotel Tax Fund, Ann Hatch and Paul Discoe, and the CCA Curator's Forum.

Generous support for the CCA Graduate Studies Lecture Series has been provided by Grants for the Arts / San Francisco Hotel Tax Fund.