What could easily have been too mucha confusion of references or a crowding of ideasinstead formed an economical and coherent network of symbols in “Columbine Cafeteria,” Bunny Rogers’s debut exhibition at Greenspon Gallery. Enchanted mops, Halloween apples, institutional furniture, rubber garbage cans, ballet slippers, a storybook key, and stained-glass panels were among the curious, mournful, and ominous objects on view in this poetic, almost austere, installation. They were part of a highly stylized, fantasy re-creation of the suburban Colorado high-school cafeteria where students Eric Harris and Dylan Klebold began the 1999 massacre that took fifteen lives (including, finally, their own), but the show’s power was derived, in part, from its chilling points of contact with historically accurate detail.
An image search reveals that the purple chairs Rogers uses in this
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