New York

“Plastic Fantastic Lover (Object A)”

Blumhelman Warehouse

Framed by its vaguely evocative, post-psychedelic/Lacanian title, this convincingly installed group show whispers the promise of a manifesto never fully articulated. The work of 21 artists, “all of whom happen to be women,” packs the gallery—slouching in corners, sprawling on the floor, dangling from the ceiling. Formally many of the pieces attest to Eva Hesse’s (and, less directly, Andy Warhol’s) continuing influence, most bluntly apparent in Asta Gröting’s Untitled, 1991, an anthropomorphic coiled mass of silicon and wood shavings. Many of these artists borrow Hesse’s repudiation of glacial formalism, her notions of “wild space,” and her use of entropy and chaos to invest the absurd or the abject with uncanny expressiveness. Attesting to the strategic failings of much of the commodity-fetish work of the late ’80s, this exhibition injects newly resuscitated Conceptualism and Minimalism

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