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I dont think my family gets it at all, the artist acknowledges of his painstakingly marked-and-dated inventory, a practice that, he says, owes a debt to On Kawara. I take the most innocuous details and make them almost sacred. One would be forgiven for assuming that this vast accumulation is the work of a hoarder, but Bickett is far more intentional than thatand also hyper-organized, keeping meticulous written track of the identity of his magnum opus tens of thousands of small parts, beginning in 1972. Along the way, he has also produced discrete artworks that stand on their own: black-and-white photographs of boyfriends; formally inventive wall-bound sculptures of leather-wrapped crucifixes and other objects which recall (and predate) pieces by Tom Burr; hilarious and wry self-portraits wearing various costumes, all taken at a local Wal-Mart photo studio. At Andrew Edlin, the living-room-style installation gives these pieces the same weight as annotated jars of garbage culled from the roadside, small kitschy statuettes gifted from friends, or a jar of matchbooks advertising A La Lucie, the (now defunct) high-end restaurant where Bickett was a waiter for about thirty years. Its all strange and sweet and mysterious, an immersive sculpture in flux that just happens to be someones life. Bickett has faith in his archives value for future generationsa kind of time capsule or resource about a specific American man and his unique milieu. He can envision the entire piece finding a permanent home in an academic context, like New York Universityor even at the Vatican. Ideally I would have every bit of it displayed, stored, and studied together, Bickett says, alluding to the precedent of artists like Clyfford Still, who put famously strenuous demands on their estates. I dont know where the archive fits artistically, but historically, I think it is really important. There are aspects to itlike the way the AIDS crisis affected me, as a gay man in a small Southern townand how it affected other people. But theres a universality to it that makes it interesting and applicable to other places; thats probably what separates really significant art from art thats just designed to hang over a couch.

http://observer.com/2017/03/louis-zoellar-bicket-archive-andrew-edlin-gallery-show-review/