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1000 WORDS: JESSICA STOCKHOLDER

TRYING TO COME UP with a taxonomy for the burgeoning idioms of contemporary sculpture is probably ill advised. But one can’t help wishing for a bit of handy nomenclature to categorize the abundance of recent work in which rigorously formal propositions achieve an odd, uneasy détente with, well, junk—tchotchkes, cast-offs, discount-bin merchandise. The result of this dynamically unstable alliance—visible in the work of artists as diverse as Jim Lambie, Gedi Sibony, and, perhaps most notably, Rachel Harrison—suggests less a simple rejiggering of old terms, e.g., assemblage, than an evolution of syntax in which the Latinate grammar of sculptural abstraction has been adulterated by the pidgin of material culture.

In the absence of a high-concept catchphrase, one can nevertheless point toward an artist whose own practice constitutes both a present-day exemplar of this mode and one of its most

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