Nancy Rubins

Kasmin Gallery | 293 Tenth Avenue

After nearly a century of readymades and bricolage, the cultural resonance of trash is well established. Debris is both abject and talismanic: it represents not only what is thrown away but what remains, and a successful bricoleur like Nancy Rubins can make these qualities function simultaneously. In this show, presenting two sculptural installations of junked airplane parts, Rubins set herself devilish problems in gravity and suspension. But she also commented on the balance between waste and salvage, machismo and vulnerability.

The more impressive of the two sculptures, a lofty, shattered arc, filled the front gallery. Confounding expectation (something so tenuously calibrated ought to hang from the ceiling like a mobile), the whole grew upward from a single engine-case resting on the floor. A group of cone-shaped vessels, their openings facing out, clustered around this central core to

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