OY/YO can be read two ways in more ways than meet the eye. Of course, the bright yellow typographically-symmetrical eight-foot-high aluminum letters, sited in DUMBO’s Brooklyn Bridge Park, read in different languages from Manhattan or Brooklyn, in Yeoman Yankee slang as well as Spanish if you face east and Yiddish if you have your back to Kings County. It’s a gentle joke about multiculturalism and borough rivalry perhaps, although kvetching is pretty much universal and non-denominational throughout greater New York. Deborah Kass offers both a recall and a riposte to Brooklyn’s lost Domino sign and the Queens waterfront’s repositioned “Pepsi” through the democratizing while lost in translation reverse legibility of OY/YO. But the real genius of this at once layered and brazen concrete poem is the way it works for different crowds without anyone getting patronized: Kass speaks the language of art historical appropriation to critically savvy insiders – recalling her classic Jewish feminist deconstructions of Warhol, this time she riffs off of Robert Indiana’s LOVE and Ed Ruscha’s OOF – but she equally presents an upbeat, innocent originality to Joe Public, lounging in the park or stuck in bridge traffic. A knowingly classy graphic for a gentrified sometime slum, OY/YO is a two-way mirror of an only-in-New York variety. DAVID COHEN
Commissioned by Two Trees Management Company, OY/YO will remain on view at Brooklyn Bridge Park through August 2016
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