For an artist who recently shipped, to Toves Galleri in Copenhagen, not finished pieces but studio documentation of his sculptures together with instructions for their re-creation, Brion Nuda Rosch’s show at ACME settled surprisingly close to its source. In this first solo outing in Los Angeles for the San Francisco–based artist, such a return to the authorial fount was a matter not only of facture (Rosch handled these works himself this time) but also of content, since the assemblages made from layered book pages and various objects are reportedly stand-ins for the artist’s body parts. According to Rosch’s itemization, these totems entail would-be onanistic portraits of his head, shoulder, arm, knee, and appendages, but any literal reference is eschewed in favor of fragmented formal jokes or a total absence of correlation. They also involve portrayals of another sort: of “bong
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