New York

Alexis Smith

Holly Solomon Gallery

When you walk into Alexis Smith’s rendition of what these United States are all about, or were about between the wars, you enter through an arch in a white picket fence. Silhouettes of houses, and trees, either cut-outs or painted directly on the wall, are presented with pithy excerpts from Sinclair Lewis’ Main Street, Thornton Wilder’s Our Town, and Nathanael West’s Day of the Locust. All of the pictures and the text are about American middle-class desires and illusions, as embodied in images from a mythic past. On the rear wall, there is a looming silhouette of an ocean liner from the days when men were men, and a perfectly charming grey-and-black silhouette of the car in which Isadora Duncan took her final spin, along with texts alluding to sobering social realities, taken from John Dos Passos’ The Big Money. On the adjoining wall, there are silhouettes of telephone poles, and even a

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