PRINT January 2020


Rachel Harrison, Bears Ears (detail), 2017, wood, polystyrene, chicken wire, cardboard, burlap, cement, acrylic, enamel, Nu-Wave drywall cart, soccer ball, USB flash drive with thirty-eight Harun Farocki films, 67 1⁄4 × 51 1⁄2 × 53 3⁄4".

IMAGINE THAT ANDY WARHOL and Eva Hesse had a secret tryst in 1966 and Rachel Harrison was the love child that resulted. With its canny use of both Pop signs and funky materials, her rambunctious sculpture points to such an unlikely lineage. Smartly curated by Elisabeth Sussman and David Joselit, “Rachel Harrison Life Hack,” the midcareer survey of her work at the Whitney Museum of American Art, is roughly chronological: It guides us easily from an installation improvised out of cheap paneling, casual photographs, and canned peas in the mid-1990s to a large circle of totemic sculptures gathered for this show, with a few intense series of figure drawings and C-prints along the way. Despite the fact that Harrison is often taken to be a devil-may-care assemblage artist, the exhibition is almost spare, and this relative restraint has two welcome effects: We can learn the language of

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