Borrowing footage from television, movies, and sports events that serve as raw material and building blocks for his work, Paul Pfeiffer creates video, sculpture, and installations. Using iconic images of spectacles and celebrities, he plays with the canonization of memory and history, as in a digitally erased Marilyn Monroe or ghostly image of Muhammad Ali fighting in the ring, and asks viewers to question their own spectatorship and desire. Informed by, among others, Francis Bacon, Warhol, and DaVinci’s Vitruvian Man, his large-scale pieces wrestle with notions of power while the miniature works evoke intimacy. In a recent colossal production, he recorded a hired crowd of 1,000 men to re-create the sounds of 100,000 fans cheering during a World Cup match. In all of his work, from a lush sunrise and sunset shot, and shown, in real time, to a twentyfour hour a day, seventy-five day long piece, where New York commuters could watch a video of a nest full of eggs hatching and then growing into chickens, Pfeiffer is saying: pay attention. One critic summed up his body of work, “One can feel the deepening of love ­ and the holes left open by need.”