Cady Noland has literally filled the gallery––like a cluttered garage or warehouse––with her complex assemblages of miscellaneous found objects, commodities, ready-mades, and what might be described as picnic or party litter. Excess and confusion acquire an expressivity within the work’s structure. The space is activated by Noland’s 21 works; it is quite difficult to distinguish where one work ends and another begins. What at first appears as sets of amalgamations of random clutter becomes, upon closer observation, the result of a rigorous selection process. Noland’s objects divide themselves