In 1968, Paul McCarthy built a hollow, galvanized steel structure shaped like the letter H and laid on its back. He titled it z-Dead H_ (the H standing for human), making additional versions in the years that followed—notably, Dead H Crawl, 1999, inside of which he imagined moving human bodies. In The Couch, a little-known video from 1973, we watch the artist force his body through a sofa feetfirst, only to emerge out the backside in a kind of birthing episode. And for the lifelike sculpture Dreaming, 2005, McCarthy produced a to-scale silicone model of his own pantless self reclining on a lawn

For the past three decades, British artist Paul Winstanley has been painting the future past—that utopian architectural imaginary of the postwar years concretized in a range of quasi-public/quasi-private milieus, from the airport to the hospital—making only the most incremental variations in his address of the subject matter from one show to the next. With this exhibition of eight oil paintings on linen, Winstanley remains consistent in his examination of modernity as a cultural phenomenon, but one that exceeds the narrower aesthetic parameters of modernism per se. The most obvious model for