Mimi Zeiger

Critic, editor, curator and instigator.

Keep your eye on the ball. In the orbit of THE RED MOON truth is only an illusion, honesty a confidence game. The night moves quickly, pausing only to refresh the ice in your glass. The house is an omniscient sentry ready to expose your eagerness well before dawn. Bury tender wants and dreams. Now is not the time to childishly wish for wishes or try to remember home run hits or wedding toasts. Hunches deep in the pit of your stomach threaten to betray.

You remind yourself that the stakes are low. It’s only a game. It’s only money. It’s only sex. There will always be more chances, more cash. More… love?

Is THE RED MOON lying to you? Are you lying to yourself? Another spin and your gut cramps. Releases. Cramps again. She spells out “YES.” Yes — a truth that rises sourly from your spleen.

REVERSED: In this zona rosa, THE RED MOON offers a vibrant promise of passion. Do you have the courage to trust your intuition?

Leave it to technology to burst my Suitaloon of memory. Old emails tell me that I met Dennis Crompton — architect, Archigram founder, and the group’s de facto archivist — on a spring day in late April. We sat for more an hour on a bench in Cooper Square while he graciously considered my adoring questions.

The six-member British group — Warren Chalk, Peter Cook, David Greene, Ron Herron, Michael Webb, and Crompton — produced some of the most revolutionary designs of the 1960s and early 1970s, thumbing their collective noses at the precepts of modernism and embracing the excesses of postwar pop culture. It befuddled Crompton that they were occasionally dubbed The Beatles of architecture. “We didn’t know the Beatles at all,” he said that day, nixing any hopes for intersquad comparison. Still, there I sat, fangirl posing as journalist. Read More …