In Francis Upritchard’s survey “Jealous Saboteurs,” visitors encountered such characters as a Harlequin with a suspiciously amorous bulge in his diamond-patterned tights, his arms spread with a kind of “Hey, forget about it!” nonchalance (Mandrake, 2011); a putrid-yellow man standing in an archer’s pose with a semi-erection that pointed almost parallel to his extended arm (David [Robin], 2012); and a black woman with an elongated neck clutching one of her breasts (Hannah, 2016). These figurative sculptures were installed on pedestals created by Upritchard’s husband, designer Martino Gamper: