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Baseera Khan, Braidrage, 2017, ninety-nine unique poured, dyed resin casts taken from the artist’s body; synthetic and human hair; hypothermia blankets; five unique harnesses made from wearable Cuban chains and rock-climbing cords; black chalk. Installation view. Photo: Thomas Barratt and Mark Waldhauser.

Baseera Khan

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Baseera Khan, Braidrage, 2017, ninety-nine unique poured, dyed resin casts taken from the artist’s body; synthetic and human hair; hypothermia blankets; five unique harnesses made from wearable Cuban chains and rock-climbing cords; black chalk. Installation view. Photo: Thomas Barratt and Mark Waldhauser.

SOME FAMILIES STACK THE DOLLA BILLS. MY FAMILY STACKS THE TRAUMA. NOW I’M TRYING TO MAKE SOME MONEY OFF UNDERSTANDING MY MAMA’S DRAMA. These lines appear in the print Prayer (prostrating in submission five times a day to an entity outside of your body), the first work encountered in “iamuslima,” Brooklyn-based artist Baseera Khan’s New York debut. One of five works interpreting the five pillars of Islam (we see also Pilgrimage, Fasting, Oneness, and Zakat), Prayer has a brassy transparency that is typical of Khan’s project. The artist often levies the contradictions underlying contemporary discussions of identity and oppression—particularly the ways in which artists and institutions mobilize such topics without acknowledging their own complicity in the markets that reify those very subjects. Here, in a series of performance-oriented sculptures, prints, and a selection of her

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