New York

View of “Sara VanDerBeek,” 2016. Photo: Genevieve Hanson.

View of “Sara VanDerBeek,” 2016. Photo: Genevieve Hanson.

Sara VanDerBeek

Metro Pictures

View of “Sara VanDerBeek,” 2016. Photo: Genevieve Hanson.

“Pieced Quilts, Wrapped Forms” may have marked the first exhibition Sara VanDerBeek has explicitly devoted to her research on textiles, but the metaphor of weaving has shaped her practice for the past decade. The seductive C-prints that were on view in the show, most often images of objects built specifically for the camera, deftly interlace image and object, analogue and digital technologies, historical precedents and contemporary production, and easily consumed beauty and labored research. Even as the sense of transgression that may have once motivated such combinations has waned—we are, after all, accustomed to a simultaneity of categories that may once have been oppositional but no longer function as such, just as we are comfortable with photos shot on film and printed digitally, just as we know that pretty things can also be smart—we are still entranced, and maybe

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