New York

Adam Fuss

Cheim & Read

“Home and the World,” Adam Fuss’s third solo exhibition at Cheim & Read, showed his most austere work yet. The artist whose photograms have previously incorporated rabbit entrails, ejaculate, and cow livers hasn’t forsworn corporeality altogether, however: One encountered, on the floor of a small side gallery, a giant daguerreotype of an upclose vulva. Fuss disavows any provocation, erotic or otherwise, averring that his interest in the image had to do with “the architecture of the entrance.” This surprisingly sound plea for formalism aside—the frontal splay of tissue is desensualized to the point of being clinical, its placement indeed evoking an incidental portal—the balance of the show found Fuss in high symbolic mode.

For someone who has staked a claim on the big subjects (life/death, man/woman, growth/decay), allegory isn’t new, and the exhibition’s press release was a jewel of

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