Though not billed as a group exhibition, “Dress the Form” contained multitudes, featuring contributions from nearly thirty individual artists alongside numerous collaborative and found efforts. In an exuberantly busy installation inspired in part by the catholic formalism of Henry, her antique shop in Hudson, New York, coordinating artist Nancy Shaver endeavored to further collapse the differences between professional and amateur, conceptual and formal, andespeciallyfunctional and decorative. Shaver intended that the show’s objects be considered for their immediately apparent qualities rather than for any attending obscure backstories, and the result was a refreshingly unburdened collection around which ideas of work, value, and the visual swirled and eddied like flakes in a snow globe. A more-is-more strategy always risks exhausting the viewer, but here the exercise
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