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Dianna Molzan, untitled, 2012, oil on canvas, artist-designed Plexiglas-and-steel stand, 62 x 10 1/2". From “Public Fiction: The Conscientious Objector.”

“Public Fiction: The Conscientious Objector”

MAK Center for Art and Architecture, Schindler House

Dianna Molzan, untitled, 2012, oil on canvas, artist-designed Plexiglas-and-steel stand, 62 x 10 1/2". From “Public Fiction: The Conscientious Objector.”

Curated by Francesca Bertolotti-Bailey and Lauren Mackler, “The Conscientious Objector” burrowed into Public Fiction’s host institution, the Schindler House—an erstwhile modernist’s home and studio in West Hollywood, the heart of the culture industry—as an apt setting for an exhibition about the role of refusal. Works by Sam Gilliam, Anthea Hamilton, Suki Seokyeong Kan, Lucy McKenzie, and Dianna Molzan constituted models of the organizers’ call for “acts of resilience through ‘nonparticipation’ and elliptical routes, in contrast to more blatantly sociopolitical forms of resistance.” To this end, one first encountered in the foyer Hamilton’s Leg Chair (John Travolta), 2010: a translucent sculpture of bent legs on tiptoes, splayed like a vaginal Rorschach. That the Perspex limbs encased, as if in amber, postcards of the work’s namesake only added to its surreal erotics of

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