london

View of “Sarah Lucas,” 2013.

Sarah Lucas

Whitechapel Gallery

View of “Sarah Lucas,” 2013.

Not many shows manage to make you laugh, snort, wince, giggle, and blush in the space of a few minutes, nor do they convince and compel both wittily and emphatically. But Sarah Lucas’s exhibition “SITUATION Absolute Beach Man Rubble”—a crammed, busy, and riotous affair from start to finish—managed all this and more. The nascent anger of Lucas’s work, which picks away at the social, political, and economic fabric of lives lived in the dirty underbelly of Thatcher’s Britain, was in stark and startling evidence throughout. Lucas’s familiar references to postwar and contemporary British life dominated the galleries; iconic works on display included a Minimalist mobile of cast-concrete tinned meat pies (Pie Mobile, 2002), a toilet plunked atop a concrete cinder-block base (Old In Out [saggy version], 1998), and an enormous, kitschy toby jug (Richard, 2004), which sat as a

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