
Rosemarie Trockel
One could be forgiven for viewing Rosemarie Trockel’s most recent and most astonishing survey, “Deliquescence of the Mother,” as a dream (or nightmare) of domesticity and its oft-gendered (dis)appointments. There are sofas, “hot plate” works, “knitted paintings,” and ceramic objects that project off the wall like exploded dishware, yet each piece—no matter how familial or housebound its reference or material—seems distilled through the wary brilliance of the mind. In one of the huge glass vitrines filled with sculptural works that punctuate the show, a black bust reveals a sleeping face adorned