The Dinner Party, JUDY CHICAGO’s visual tribute to the history of women, is comprised of a 48-foot triangular table with 39 individual place settings. Each setting commemorates a female personage (either mythological or historical) with an abstract butterfly/vaginal motif. Plates rest on fabric runners embellished with needlework and weaving, illustrative of the history and culture surrounding that particular woman. The table stands on the “Heritage Floor,” white opalescent porcelain tiles inscribed with 999 women’s names in gold. Preceding this installation is a hallway of banners that pay

In Victor Cohen-Stuart’s work, painting traditions are played against sculptural intent, and an implied utilitarianism confronts fetishistic form. The materialistic vocabulary of these works is decidedly painterly—canvas, paint, wooden stretcher bars and string. But the objects realized, constructions that seem to tear away from their supports, are intentionally sculptural.

Of the seven pieces in this current exhibition, the larger works, averaging 6 by 9 feet, emanate the most force. The objects are carefully fabricated, string and canvas organized in a way to suggest nautical apparatus or the

Through a combination of extended time exposure, artificial illumination and print toning, Richard Misrach forges an evocative nocturnal vision of the Arizona, California and Baja deserts. In composition and physical presence, his photographs read as iconic manifestations; his rock formations, cactus and succulents vibrate with a mystical aura. Time exposure and foreshortened depth of field create atmospheric effects, stars are transformed into dashes of light, and toning intensifies a haze that is dramatic and unearthly.

Misrach’s images are pictorial and deliberately romantic, both in choice