
Nicole Wermers
Upon viewing Sandy Orgel’s Linen Closet, one of the room-sized installations exhibited at the legendary “Womanhouse” in Los Angeles in 1972, a visitor remarked, “This is exactly where women have always been—in between the sheets and on the shelf.” If Orgel turned to the upright figure of the display mannequin to explore the domestic, societal expectations of women, Nicole Wermers riffs on the art-historical trope of the passive (and similarly mute) odalisque in her exhibition “P4aM2ARF!,” its title an encrypted acronym for “Proposal for a Monument to a Reclining Female!” Her large sculptures