Los Angeles

Lynn Aldrich

Sue Spaid Fine Art

Ever since Reaganomics began to take its toll on the vestiges of the middle class, the American dream just hasn’t been the same. The multimedia installations in Lynn Aldrich’s recent show, entitled “Running Out,” collectively interrogate the nefarious underside of late-capitalist ideologies of domesticity.

Entering this complex, tightly packed exhibition, the visitor is overwhelmed by the pervasive smell of air-freshener—an assaultive “spice” odor that insinuates itself into one’s consciousness. Placed ceremoniously on a faux-marble-topped pedestal, a huge wedge of Renuzit cast in the extended oval shape of solid underarm deodorant slowly dissolves as it releases its “homey” smell. In the second half of this piece, which is appropriately entitled Vanitas, 1992, Aldrich carefully documents this decay in daily Polaroid pictures inserted into the pages of an album labeled with handwritten

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