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Dorothea Tanning, Canapé en temps de pluie (Rainy-Day Canapé), 1970, tweed, upholstered wood sofa, wool, ping-pong balls, and cardboard, 32 1/4 x 68 1/2 x 43 1/4".
Dorothea Tanning, Canapé en temps de pluie (Rainy-Day Canapé), 1970, tweed, upholstered wood sofa, wool, ping-pong balls, and cardboard, 32 1/4 x 68 1/2 x 43 1/4".

Curated by Ilene Susan Fort and Tere Arcq

Clichés and stereotypes should collapse like a house of cards within the abyss of the looking glass in this fresh take on women and Surrealism. Staples from Frida Kahlo and Leonora Carrington will mingle with lesser-known work, including photographs from Rose Mandel and screenprints by Dorr Bothwell, and all will benefit from reframing in terms of politics, myth, and response to place. An accompanying scholarly book, edited by the curators, will provide a critical map for the dizzying range of the exhibition, which comprises nearly two hundred works made between 1930 and 1970 and gathers artists as diverse as Lee Miller and Yayoi Kusama in its scope. That, at least, is consistent with the Wonderland theme, an apt metaphor for the experience of Surrealism reflected backward (and in high heels).

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