The Problem with Triple Candie: A Lecture-Demonstration Since 2006, the alternative space Triple Candie—founded in Harlem in 2001—has been producing exhibitions about art without art or artists. The shows have consisted of reproductions, sculptural surrogates, and theatrical stage-sets that are often discarded or recycled after they are reinstalled. Two especially notorious examples: “David Hammons: The Unauthorized Retrospective” was the largest survey ever of the influential and highly reclusive Harlem artist David Hammons, though it consisted exclusively of photocopies and computer printouts; and, “Cady Noland Approximately: Selected Work, 1984-2000”, the first-ever survey of the work of an equally influential and reclusive artist that consisted of sculptural surrogates made by the gallery using information gleaned from the Internet. Both exhibitions were produced without the artists’ permissions. Triple Candie’s other exhibition have included a collection of 1,200 reproductions clipped from art books; a survey of the work of Lester Hayes, a fictional, bi-racial artist; a theatrical recreation of a 1950s-era Greenwich village café and photography gallery; and two exhibitions of common, everyday objects that have been extensively catalogued. This lecture-demonstration will serve as an educational primer on the gallery’s work and will delve into issues of artistic control, institutional license, and public access.