New York

Jonathan Monk

Casey Kaplan

Jeff Koons’s Rabbit, 1986, an immaculate stainless-steel cast of a silver balloon in the form of a stylized bunny, has become an icon of a decade notorious for hyperbole and narcissism. (Not without reason did its perky ears protrude over Artforum’s logo in the first of the special issues the magazine devoted to the 1980s in 2003.) So it would be easy to see an allegory in “The Inflated Deflated,” for which British artist Jonathan Monk took a pin to this pumped-up, mirror-finish homage to the 1980s, reproducing it in a set of flaccid simulacra.

Monk has made a career out of appropriating material from contemporary—most often Conceptual—artists, having remixed the work of luminaries from John Baldessari to Lawrence Weiner, Chris Burden to Ed Ruscha. (Naturally, he’s also taken on Marcel Duchamp, holding up a sign with the artist’s name on it at an airport in his 1995 series “Waiting for

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