Doris Salcedo’s well-known “Untitled” series, 1989–2008, features pieces of domestic furniture—chairs, armoires, cabinets, and tables—that have been fused together with concrete and steel into haunting amalgams. That clothing is sometimes visible within the sections of concrete, its softness frozen and locked within the rigid horizontals and verticals of the intersecting objects, only reinforces the sense of the uncanny that pervades these works. Salcedo’s sculpture insists on decelerated, meticulous viewing: One must circumambulate the objects within the exhibition space to pinpoint

Since 1991, Erika Rothenberg has employed the form and generic sentimentality of the greeting card as a means of examining a vast range of social ills and political injustices. Rothenberg’s cards, executed simply in gouache and watercolor, evidence the artist’s active imagination and keen facility for satire, tackling themes (per the plaques that served to organize this exhibition) of “religion,” “crime,” “arts and culture,” “sexual abuse,” “abortion,” “civil rights,” “health,” and “education”—in sharp contrast to the congratulations and well wishes one might expect. The resulting compositions