The exhibition gleans its title from an Instagram post by Marie Kondo, whose books and Netflix show about tidying up have made her a household name. The quote, and Kondo's empire in general, is a reminder of our complicated relationships to the things around us, and how we cling to things – but also, how they sometimes cling back. Milner's sprawling and idiosyncratic practice draws upon aesthetics of museum and retail display, domestic interiors, and TV shows like Hoarders and Kondo's Tidying Up. These new sculptures employ various strategies of containment, and point to the paradox that efforts to contain something can embody dueling philosophies of care and control, love and domination.
Milner's installations articulate and confuse spaces of the museum, home, body, archive, and hoarder. Milner, who is suspicious of tidying philosophies and how systems of organization exist in hierarchies, has created a practice which attempts to deal with the things around him through conflicting gestures of collecting, combining, containing, and releasing. Adam Milner combines and confuses the haord, the museum, the home, and the body. The resulting works take the form of sculptures, drawing, texts, and interventions which draw from deeply personal experiences to examine notions of value, intimacy, and power. Milner's collections ultimately point to their own subjectivity, creating blurred categories which embrace queerness. He has exhibited at The Andy Warhol Museum, The Aspen Art Museum, MCA Denver, Casa STUDIO for Creative Inquiry led to