• Sturtevant, Sex Dolls, 2012, seventeen plastic sex dolls, dimensions variable.


    Serpentine Galleries

    For her exhibition “Leaps Jumps and Bumps,” Paris-based artist Sturtevant effectively turned the Serpentine Gallery into a conceptual obstacle course, one in which spectators could easily jump to conclusions about what they saw, only to bump into conflicting information that challenged facile thinking. This strategy was paradigmatically exemplified by the artist’s tactic of repeating works by her peers—here, Andy Warhol, Marcel Duchamp, and Felix Gonzalez-Torres. She has pursued this approach since the mid-1960s, and in the course of the past ten years it has been rediscovered to great

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  • View of “Notes on Neo-Camp,” 2013.

    “Notes on Neo-Camp”

    Studio Voltaire

    Several of the works in the front room of “Notes on Neo-Camp,” curated by Chris Sharp, seemed to exemplify the ascendance of a newly contextualized, networked figuration in sculpture. The impassioned referentiality of the assemblage that makes up Tom Burr’s Fassbinder Piece, 2011—a green leather trench coat, a special issue of October devoted to the German director, and a poster for the film Kamikaze 1989 (starring Fassbinder and released in 1982, the year of his death)—resonated with that of Anthea Hamilton’s 2012 Venice Kimono across the room: a wide-sleeved, brightly colored costume

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