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In her series "Rights of Passage" (1993-1998), shot with a toy camera, Martha Rosler captures the anonymous spaces of her commute between Brooklyn and New Jersey. Bridges, overpasses, and vehicles form dreamscapes unique to our era, reflecting an economic system that binds us as transient participants. For Rosler, the road symbolizes not freedom but the stasis of modern life—epitomized by the traffic jam.
“In Martha Rosler’s Rights of Passage series, all such freedom of movement, real or conceptual, is blocked: by traffic, by the endless process of roadwork, by deteriorating surfaces and margins, by the inexorable sameness of the modern highway landscape that turns all travel into arrival at the same destination.” – Anthony Vidler
Martha Rosler is one of the most influential political artists of her generation. Known since the 1960s for her ground-breaking (political) conceptual art positions, the artist works in video, photo-text, installation and performance, and wri…
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Press Release
In her series "Rights of Passage" (1993-1998), shot with a toy camera, Martha Rosler captures the anonymous spaces of her commute between Brooklyn and New Jersey. Bridges, overpasses, and vehicles form dreamscapes unique to our era, reflecting an economic system that binds us as transient participants. For Rosler, the road symbolizes not freedom but the stasis of modern life—epitomized by the traffic jam.
“In Martha Rosler’s Rights of Passage series, all such freedom of movement, real or conceptual, is blocked: by traffic, by the endless process of roadwork, by deteriorating surfaces and margins, by the inexorable sameness of the modern highway landscape that turns all travel into arrival at the same destination.” – Anthony Vidler
Martha Rosler is one of the most influential political artists of her generation. Known since the 1960s for her ground-breaking (political) conceptual art positions, the artist works in video, photo-text, installation and performance, and wri…
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