ONE OF THE EARLIEST WORKS in the Generali Foundation’s “Ree Morton: The Deities Must Be Made to Laugh: Works 1971–1977”—the first major institutional survey of the artist’s oeuvre in almost thirty years—was Untitled, 1971–73, a humble-looking assemblage consisting of pastel-painted wooden branches arranged in a kind of post-and-lintel structure. In the composition, a drawing on canvas has been stretched across the segment of wall defined by this structure, and on it, the Y shape of the weight-bearing vertical branches is repeated twice. Though certainly unassuming, Untitled was a