Contesting the progress-and-mastery saga of twentieth-century modernism, Chicago-based artist Tony Tasset spent much of the 1980s and ’90s meticulously crafting insolent, critical objects, and the nine works represented in this ten-year survey (1986–96) unambiguously assert his past affinity for blunt deconstructionist strategies. During that period, the artist through his ironic use of reductive geometry aimed to subvert the unitary, masculine authority of the then more recently canonized tropes of Minimalism—his objectless pedestals, empty shipping pallets, unmarked surfaces, and vacant vitrines