Renée Van Halm’s large-scale sculptural works challenge Modernist conventions by incorporating marginalized artistic practices that have fallen outside the high-art canon into an ostensibly Modernist framework. For Van Halm, the marginalized consists of decorative flourishes, conventions that acknowledge the presence of the individual, and genres overlooked by the Modernist machine. Slowly moving away from her large-scale outdoor, architectural sculptures of the ’80s, Van Halm has fabricated measured and distilled works that comment on their own status as art objects, subtly challenging Modernist