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Hannah Wilke, S.O.S. Starification Object Series, 1975, chewing gum on rice paper mounted on rag board, 33 3/4 × 26". From the series “S.O.S. Starification Object Series,” 1974–82. © Marsie, Emanuelle, Damon, and Andrew Scharlatt/Licensed by VAGA, New York, NY.

Hannah Wilke

Tibor De Nagy Gallery

Hannah Wilke, S.O.S. Starification Object Series, 1975, chewing gum on rice paper mounted on rag board, 33 3/4 × 26". From the series “S.O.S. Starification Object Series,” 1974–82. © Marsie, Emanuelle, Damon, and Andrew Scharlatt/Licensed by VAGA, New York, NY.

Hannah Wilke’s art was always one of intimate gestures. Sculpting gum she chewed into vaginal voids, photographing herself nude in various poses, and drawing watercolors that detailed the deterioration of her body from cancer treatments, Wilke used touch and extreme candor to explore feminine form. Tibor de Nagy’s exhibition included examples of these well-known bodies of work, yet, most interestingly, it also shed light on the way in which intimacy came to inflect Wilke’s practice through a foregrounding of her personal relationships: namely her friendship with a single family, the Axelrods, whose collection of Wilke’s art, much of it given to the family by the artist as a gift, constituted the majority of this small show. Signed dedications by Wilke to the Axelrods’ son Mayan in many of the pieces gave a sense of the decades-long rapport between the artist and these

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