Curated by Elisabeth Sussman and David Joselit with Kelly Long
“Every sculpture should have a trapdoor,” Rachel Harrison once mused, although she didn’t say whether the entrances and exits would be made by the art or the viewer or both. One could joke that such insurgence—formal, conceptual, material—is what directs the ins and outs of her virtuosic productions. Her mixed-media pieces can look like acts of oogey buffooning, object comedies that swipe at the sublime by way of the sad sack. Starring blobs and stacks and stuff blasted with perplexing color palettes, punctuated by masscult references, they are tightly composed while radiating anarchic energy. The artist’s first museum survey and its catalogue will present twenty-five years of her sculptures, installations, drawings, and photographs, taking stock of how and why her gloriously unsettling and invigorating work works.