In preparing this review I noticed that in writings about Michael Joo, from the merely informative to the profound, there is a sort of embarrassment about citing the complete tide of one of his recent works, which was present in his first solo exhibition in Italy. Family Standing on a Bridge, Looking into the Future, Pissing, 2001, depicts four figures cast in bronze at two-thirds scale—father, mother, son, and daughter—unequivocally in the act of pissing. The work engages themes with which Joo has been concerned ever since he stopped making the openly and ironically technological installations