Los Angeles

View of “Judy Chicago,” 2019.

View of “Judy Chicago,” 2019.

Judy Chicago

Jeffrey Deitch | Los Angeles

Not unlike Judy Chicago’s famed installation The Dinner Party, 1974–79, this exhibition took a clear and radical stance against the historical erasure of a woman and her work. Of the thirty-nine pieces making up this survey of Chicago’s prolific output from 1965 to 1972, almost half (nineteen sculptures and photographs) had been refabricated or printed anew within the past fifteen years. This work looked unapologetically fresh alongside older sculptures, paintings, and drawings. Conceived and executed around five decades ago, many of Chicago’s original works did not survive owing to the lack of support for women artists and thereby of resources to store and care for their art. Providing a timely if overdue remedy, this show revived rarely seen works such as Chicago’s 10 Part Cylinders, 1966/2019, a cluster of tall monochrome fiberglass-and-cardboard columns with the industrial sexiness of

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