The Spanish city of Santiago de Compostela may be best known as the endpoint for one of the world’s most famous tests of spiritual endurance: the 780-kilometre pilgrimage known as El Camino de Santiago, or the Way of St. James. But earlier this year, art pilgrims—among them writer Sarah Milroy—also flocked to the city for its hosting of the exhibition “Jeff Wall: The Crooked Path.” Shown by the city’s Centro Galego de Arte Contemporánea
(CGAC) in collaboration with BOZAR Centre for Fine Arts
in Brussels, and curated by Joël Benzakin, the exhibition presented a rare insider’s view of Wall’s practice, featuring a selection of his trademark light-box photo works set alongside photos, paintings, films and sculptures by some 60 artists that Wall considers to be key influences.
In our Summer 2012 cover story “A Pilgrim’s Notebook,” Milroy offers a travelogue of sorts, recording her journey through the exhibition and the resulting revelations about the methods and meanings behind Wall’s work. As she writes, “Previously, I had understood him as an artist positioning himself within the history of images. Now, I understood him more as a connoisseur of vision itself, of how we, as a species, extract meaning from it.” Here, a set of installation views from CGAC completes the picture