• View of “Gloria: Robert Rauschenberg & Rachel Harrison,” 2015. Foreground: Rachel Harrison, Slipknot (detail), 2002. Background: Robert Rauschenberg, Gloria, 1956.

    “Gloria: Robert Rauschenberg & Rachel Harrison”

    Cleveland Museum of Art

    The choice to exhibit Rachel Harrison’s sculpture/painting hybrids and drawings of the past decade or so alongside Robert Rauschenberg’s Combines of the 1950s and ’60s has elicited resistance from more than a few critics. That resistance, in the opinion of curator Beau Rutland, is knee-jerk, stemming primarily from the notion that the pairing is “almost too good to be true.” And it would be too good to be true, were one to read the works of these artists in only the most basic of formalist and historicist terms. Both Harrison and Rauschenberg harvest the expendable, everyday materials of American

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