• His Shirt, Cropped. Digital photograph, 2007
  • Waiting, Digital photograph, 2007
  • Holding his Gun, digital print, 21 7/8 x 27 3/4, 2007.
  • His Shirt, Cropped. Digital print, 2 parts, 26 5/8 x 27 3/8. Framed. 2007
  • Holding his Gun, digital print, 21 7/8 x 27 3/4, 2007.
  • Series of LOVE Chapters. Framed digital photographs. 2007. Installation at Gagosian, NY.
  • Our Contract. Bullet, bulletproof glass. Variable dimensions. 2007
  • Our Contract (detail), bullet, bulletproof glass, vitrine. 2007
  • Installation view, Gagosian Gallery, 2007.
  • Installation view, Gagosian Gallery, 2007.

Lincoln Ocean Victor Eddy

In 2007 Jill Magid came back to New York City after living five years abroad. She rented an apartment in Brooklyn and took the subway often. Everyone was in transit, except the officers. She approached one and asked him to search her. She began to accompany this officer on many of his nighttime posts. He was not sure if he could trust her, and she was not sure if she should trust him. They continued to meet despite this. Magid kept record of their meetings and logged them in different forms.

With Full Consent features an array of works linked by the investigation of the emotional and philosophical relationship between "protective" institutions and conventions, and individual identity. A prime example is Lincoln Ocean Victor Eddy, a large-scale multimedia project initiated upon the artist's return home after living abroad for five years. When an announcement over the subway PA informed everyone that any passenger may be subject to a search "for security reasons" Magid responded by approaching a police officer and asking him to search her. He refused, but she persisted. Ultimately she infiltrated his world - to a degree - Lincoln Ocean Victor Eddy: police code for love.

Excerpt from Gagosian Press Release With Full Consent, curator Sam Orlofsky.


10:30PM  He parks his car in front of police headquarters on the street below my window. I come down five floors and get into his car.

10:55PM We get out of the car. He locks the doors and leaves a window slightly open. He goes down below the city; I return upstairs.
11PM  Roll call. He changes into uniform.
11:30PM He calls me from headquarters with his assignment.
12AM I take the train to meet him. We guard the tunnels, on the
platform or together in the booth.
7AM The shift is over. We drink coffee in his car.
9 WEDNESDAY I offer to tell him about art in exchange for training me.
He refuses the former but agrees to the latter.
12 SUNDAY I need something to wear for training. He brings me his
uniform shirt. I am not supposed to wear it in public. I take a
photo of myself in it and give the image to him cropped.
22 WEDNESDAY I buy him postcards of paintings at the Met and slip them
through the crack of his car window. He keeps them in the
glove compartment.
6 THURSDAY I learn his mantra of the presidents, the station codes, the police
radio-telephony alphabet and write notes to him in police code.
17 FRIDAY We hear the birds in Nostrand Station. If he is there and I am not,
he calls me when they sing.
23 TUESDAY He teaches me how to steal the magazine from an officers' gun.
29 WEDNEDAY I hold his gun. He gives me a bullet from it; it has a hollow point.
I keep the bullet in my wallet and don't say where I got it.
16 SUNDAY He lets me insert my camera into the police monitors to take
the footage of the trains. 12 minutes in, the sergeant comes down
the steps.