New York

Cindy Sherman

Metro Pictures

Only a few words are due on Cindy Sherman's recent show—words elicited as much by the general response and typecasting of her work as by anything. It is barely a year since Sherman first exhibited her large, emphatic color prints depicting extreme psychological or emotional states. These were the images that produced storms of opinions, deluges of writing, and that somehow managed to overshadow her earlier, more modest and (perhaps) more mysterious black and white works. They established a “norm,” a characteristic Sherman “look ” against which other work might be judged—an odd event for a single, unmistakably early phase in production. These 14 new photographs seem to represent, if not a departure, at least a rephrasing of Sherman's interests into something more pointedly her own.

All of them are, again, single-image color prints in which Sherman uses herself as subject for an

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