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Barbara Kruger

Barbara Kruger has always insisted on the presence of the body in her work, not merely as a representational element but as a critical wedge in the edifice of power. Refusing the putatively transcendental subjects and objects of traditional art and their often hidebound histories, she cuts directly to the ravages of sexual politics and patriarchal authority. Nameless linguistic shifters—the persistent “you’s” and “we’s” of her most characteristic work—nonetheless point directly to arenas of historical and material conflict. The accusatory we is feminine; the accused you, masculine.

In her most recent work, however, Kruger relies less on the pronominal agon, and in this show the results are decidedly mixed. On the one hand, she offers snide one-liners: Untitled (Turned Trick) (all works 1988) pairs a picture of a man slicing a fat sausage with the words “Turned Trick.” But beyond these

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