In Dutch artist Martijn Hendriks’ work there consistently seems to be more than meets the eye. In a piece entitled Sixth (2012), what appears to be a simple black and white abstract rendering is actually a pigment print featuring a digitally reconfigured sculpture enclosed in a maple frame. In a more recent artwork, Weekend (2013), diverse materials like money, newspapers and a USB key containing Google image search results are hidden in a plastic bag hunged on two minimal, pallid shapes leaning against the wall. His latest one-man show at WCW Gallery in Hamburg follows Hendriks’ habit of demanding that the audience investigate what’s beyond his aesthetically pleasing objects. The exhibition looks like a nearly empty storage room with scattered works composed by whiteboards, backpacks, cupholders, travel bags, hoodies, dried glass noodles and more. These conservative arrangements almost seem like an individual has placed them there as markers for later sculptures. The objects derive from texts about corporate processes for Initial Public Offerings, referenced from the web and repeatedly translated via Google Translate. The resulting gibberish is adapted into the myriad objects place within the gallery. The artist indeed explores how sculpture manages to circulate and reproduce through populations of images, forming new bonds and strategic alliances as its environment changes. On February 15, don’t miss Hendriks’ participation with Francesco Stocchi in “Impossible Show” at Temporary Gallery, Cologne. (James Shaeffer)