The initial dilemma one must confront when viewing Jessica Stockholder’s work is whether to call it sculpture or painting. This problem seems fairly old-fashioned, especially after the postwar avant-garde tried its very best to dissolve such genre limitations. Perhaps it is just this challenge that gave Stockholder’s installation—this concept seems the most appropriate for the moment—its unsettling character. It recalls those art works that were instrumental in redefining painting and sculpture, image and object. In the end, one must consider whether this work is rehashing an old art-historical