Camille Henrot, Killing Time, 2015, watercolor on paper, 76 3/8 × 59 3/8".

Camille Henrot

Metro Pictures

Camille Henrot, Killing Time, 2015, watercolor on paper, 76 3/8 × 59 3/8".

There were three distinct, amazing parts to Camille Henrot’s Metro Pictures debut: huge watercolor paintings, 3-D-printed phones, and a motorized zoetrope. The watercolors were hung in the second room, on walls painted lemon yellow, a cheerful hue that set off both the bold pastel marks of her dashed-off vignettes and the dark absurdities of their subject matter. Henrot’s paintings look like oversize New Yorker cartoons—they’re spare like Liza Donnelly’s drawings, and they nod to Saul Steinberg’s wry regurgitation of the symbols and stylistic tics of modern masters—but Henrot is crasser. Themes of sexual abjection snake through the work, providing a counterweight to the painting-as-decor conceit suggested by the installation’s vaguely institutional, Easter-in-Santa Fe palette. Trickle-Down Effect (all works 2015) shows various breeds of dogs in a coital conga line; in

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