new-york

Ida Applebroog

Ronald Feldman Gallery

The irony of Ida Applebroog’s two-part exhibition is that the actions motivating her withdrawal of the Past Events installation from its context, the Great Hall of the New York Chamber of Commerce, perfectly illustrated her themes. Applebroog’s obsession with vulnerability, with awkward or impeded communication, and with alienation, as they color the spectrum of social relationships, was in this instance brought into play in the terrain of artist’s rights. And the specific gist of her gallery showing—the massive conservative revival now invading and altering our culture—was reinforced by the mélange of mismanagement and direct or indirect censorship by the space-providing and sponsoring agencies.

Current Events involved Applebroog’s now-standard means of presentation (books, vellum proscenium stages and windows, paintings and etchings), to which she added a new form—small sculptures depicting

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