Sifting through the remains of history, Robert McNealy presents an inventory of images that are at once political, subjective, and presented in a nonlinear fashion. This archaeological approach has characterized McNealy’s practice throughout the ’80s, and it is the recurrence of associations, easily mistaken as random, that reveal themselves here. In Four Rooms (A Home), 1991, McNealy delves into middle-class aspirations by playing off the structure of the exhibition space—a spacious turn-of-the-century home surrounded by expansive grounds, which has been converted into a public gallery. Each