This solo show at the Institute of Contemporary Art, Boston—Dana Schutz’s first exhibition stateside since her controversial contribution to the 2017 Whitney Biennial—is distinguished by a shift toward compression. In the twenty-one displayed works, which span the past nine years, Schutz questions what it means to represent a subject in its entirety within a singular work. Tensions between wholeness and fracture manifest in a maximalist confessional mode. In the monumentally scaled Shaking Out the Bed, 2015, for instance, Schutz corrals domestic detritus in her portrait of a sleeping