Large, painted letters and numbers reading “Projects 195: Park McArthur” (this exhibition’s title) runs the length of the wall opposite that bearing the Dannheissers’ names. This painted logo is also an artwork in the exhibition. It is titled: Is this an investment, pied-à-terre, or primary residence? and it is scaled to the dimensions of the gallery’s floor plan.
The placement of the word “Projects” begins outside the gallery, in a hallway attached to an adjacent bank of elevators. The logo turns the corner to enter the gallery, splitting the word “Projects” into “Projec” and “ts”. Both “Projects” and “Park McArthur” are painted in black. In between the words “Projects” and “Park McArthur” is a painted gold circle with the number 195 (one hundred ninety five) in the circle’s center. The color used in the circle framing the number changes every exhibition and is usually determined by the artist. (McArthur chose gold.) The gold paint functions as a stencil framing the white of the wall to form the number 195 (one hundred ninety five). The logo is typically placed near the introductory wall text for the exhibition. In this case, it spans two walls and measures approximately 449.4 inches (1141.5cm) in length and 24.9 inches (36.2 cm) in height.
Generally consistent in form and style, the logo used by the Museum’s Projects presentations traditionally places the word “Projects” to the left or above the circle bearing the exhibition’s number. To the right or below the number is the artist’s name. For McArthur’s exhibition, the word “projects” is to the left of number 195 (one hundred ninety five), followed by the artist’s name on the right; all graphic elements are the same size and are set in the Museum’s MoMA sans font.
Originally assigned the number 109 (one hundred nine) in the Projects series sequence, the artist requested to count this exhibition as number 195 (one hundred ninety five), in consideration of the 86 (eighty six) Projects exhibitions organized at the Museum prior to the introduction of the numbering system. Considered together, these adjustments attend to the Museum’s standardized language, which McArthur has compared “to a frame through which the exhibition arrives.”