New York

Rita McBride

Alexander and Bonin

RITA MCBRIDE'S ART DEFLATES the bloated tenets of high-modernist city planning and design and exposes the culs-de-sac of once-nigh-sacred art and architectural presumptions. With Duchampian verve, McBride strips bare modernism's “bachelor”-hood, even, revealing its complicity with the spatial isolation, regimentation, and domestication of the body—particularly the female body. The real trick of her canny and droll work is that it undertakes these trenchant critiques and still manages to look spare, elegant, and appealing—which is to say, modernist.

As the title of her latest show, “White Elephant and Albatrosses,” suggests, McBride's recent work concerns anachronism, or more specifically, the weightiness of the left over. In this case what's left over is a residual Minimalism, which, depending on your perspective, is either modernism's last gasp or its postmortem. White Elephant, 1999, is

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