Meyer Vaisman

Gavin Brown's enterprise | 620 Greenwich Street

READING THE ART CRITICISM that accompanied Meyer Vaisman's late-'80s rise from East Village scenester to neo-geo celebrity, you can't help but notice how certain adjectives keep cropping up: cynical, calculated, and above all, slick. I'd happily wager that not one of these words occurs to viewers of Barbara Fischer/Psychoanalysis and Psychotherapy, 2000. Pathetic, maybe, or perhaps even grotesque—but definitely not slick.

The star of Barbara Fischer/Psychoanalysis and Psychotherapy is Barbara Fischer herself, or rather a life-size fiberglass cast of her naked body. Fischer, who happens to be Vaisman's former longtime therapist, is hardly the usual artist's model. She's homely, middle-aged, and distinctly overweight, and the fiberglass impassively records every detail of her sagging flesh. In a gesture that recalls the films of Federico Fellini, Vaisman has sat Fischer on a plywood

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