Across twenty-odd years of collaboration, the artist team of Michael Elmgreen and Ingar Dragset have created a rangy, often memorable body of sculptural and installation work that oscillatesperhaps too freely for some tastesbetween the melancholic and the glib, the subtle and the slapstick. All in all, they’re probably better known for the latter than for the former: for works such as Prada Marfa, 2005, their winking dig at the cultural gentrification of the art-saturated West Texas town, or Van Gogh’s Ear, 2016, a charmingish public-art non sequituramputated body part as modernist swimming poolthat spent the summer decorating a plaza at New York’s Rockefeller Center. But even when they dig deeperinto their favored territory around the conditions of institutional and personal identity, of sexuality and mortalitythey’re not above resorting to
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