Contemporary Arts Center, Cincinnati

I’d like to see TODT’s deadly looking, simulated military hardware drawn up before the black, glossy walls of the Vietnam Veterans Memorial in Washington, which, with no fanfare or apologies, tallies the number of dead. TODT takes this same unflinching approach to the toll of war in two relief constructions, Peace and War (both 1988). In Peace, circular plaques support a fork, a dinner plate, and what appear to be kernels of corn, but which, on closer inspection, are revealed to be three human incisors. In War, the utensil is a soldier’s trench-digging shovel, elegantly suspended near an empty pan from a mess kit.

This exhibition, which spans the almost 17-year-long career of the artist collective known as TODT, maps the group’s idiosyncratic brand of military history: their hybrid weapons—fabulously ambiguous constructions—are all the more ominous for being provocative and playful. These

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