For some time now the otherwise anonymous foursome known as TODT has been taking over galleries with their vaguely militaristic and industrial environments. Part Ed Kienholz and part Fritz Lang, their esthetic is not unfamiliar; in fact, now that cyberpunk has made information rather than industry the new object of paranoia, TODT’s mock-ups of machines with unknown but clearly horrific functions have a curiously archaic feel, an air of early-century antipositivism rather than late-century apocalypse.

Nonetheless, TODT’s work remains sufficiently menacing to disturb, and this recent installation, entitled Womb Wars, 1990, was no exception. The group fabricated a room-size chamber of horrors within the gallery. A series of backlit fetal tondi on the outside wall served as introduction. Inside, a structure of catwalks and metal beams skirted the room, and more backlit photographs of obscure

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