Sarah Braman

Museum 52

Museum 52’s boast that Sarah Braman “appears to work without inhibition, second-guessing, or self-consciousness” is a dangerous one, even for sculptures as seemingly thrown together as those on display in her recent exhibition at this newish Lower East Side space. Yes, Braman’s modified found-object assemblages seem to flaunt a willful disregard for finish, but take a few steps back and it isn’t hard to discern conventional formalist concerns nestled amid the grunge.

The centerpiece in Museum 52’s upper gallery (the larger of two levels; local veterans will remember the space as the former home of Participant, Inc.) was Sleeping Out Summer Night (all works 2008), a hulking arrangement of workshop scraps placed around a salvaged truck roof. Propped up with exquisite awkwardness on rough-hewn sheets of plywood and Plexiglas, the vehicle part looms like a giant red hand poised to descend upon

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