FREQUENCIES

The Los Angeles–based provocateur is known for an extensive, uninhibited practice that probes identity politics, pettiness, and the baseness of the virtual-industrial complex. Wolfson’s work, which has taken the form of video, sculpture, installation, photography, and performance, is neither dogmatic nor didactic, opting instead for an uneasy opacity. This summer, the artist’s transgressive streak will be on view through July 22 with “Drawings,” a show that mines the (short) life and legacy of John Fitzgerald Kennedy Jr. at Gagosian’s Basel outpost. In December, the National Gallery of Australia will host a survey of the artist’s work. When it comes to the relationship between music and art-making, Wolfson’s philosophy is simple: Less is more.

WHAT IS THE ROLE OF MUSIC IN YOUR PRACTICE? Depends. I used to think pop was radical; now I just like sculpture.

WHAT’S YOUR FAVORITE WAY TO LISTEN TO MUSIC? [With] Apple AirPods Max in a La-Z-Boy at my studio, or driving at night.

WHAT’S THE BEST STUDIO SOUNDTRACK? We don’t listen to music at the studio, but probably everyone laughing and enjoying working together.

WHICH MUSICIAN WOULD YOU ASK TO WRITE THE SOUNDTRACK TO YOUR LIFE? I’d never dare to ask that of another artist, but since you did… Erik Satie.

FIRST SONIC MEMORY? That’s an insane question.