After a series of works documenting four marriages and divorces, Alix Lambert has moved on to a different social institution. In her recent installation she took on professional sports (basketball and boxing), examining them in terms of their representation of masculine codes of behavior in American society. As in her previous photo series, the artist engages in an intimate and bodily appropriation of social codes. Lambert’s imitation of these rituals arises less from the tradition of performance than from the specular logic of fashion: the artist becomes a “top-model” of her own brand of