new-york

Danica Phelps

Feuer/Messler

Danica Phelps’s fifth solo show at this gallery marked a watershed moment in her career. Although Phelps has blended art and autobiography for the past decade, her new work is more ambiguous, selective, and, at times, abstract. Take her previous two exhibitions here as points of departure: For 2003’s “Integrating Sex into Everyday Life,” the artist recounted her sexual awakening as a lesbian; in 2005’s “Wake,” she detailed her daily routine of waking up in the morning. Both of these shows featured works on paper that—bearing handwritten itemized lists and painted stripes, which represent dollars (red for spent, green for earned, gray for owed)—meticulously document her finances. For this most recent show, “Material Recovery,” Phelps continued to use conceptual schemas, but presented her life not in rigorous detail but as filtered through a hazy sense of time, space, and language. In the

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