FOR THOSE FAMILIAR WITH THE HISTORY of feminist exhibitions in the United States, the blown-up photograph at the entrance to this retrospective of the work of Anna Maria Maiolino was a familiar sight: a shot of three dozen eggs randomly placed on a cobblestone street, with a human walking across the scene. Captured midstride, with all but calves, ankles, and feet cropped from the frame, the figure delicately navigates the fragile shells filled with life matter. Taken from the Brazilian artist’s series “Fotopoemação” (Photopoemaction), 1973–, this picture is part of a triptych, another image from which formed the cover of the catalogue accompanying the pioneering 1996 show “Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine.” It encapsulates a constellation of themes that characterize Maiolino’s multifaceted oeuvre: the body and geometry,
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