Have At It: A Post-Trump New York Looks at How Images, Ideas, and Resources Circulate

Excerpt

Edelson’s solo show coincided with two nearby gallery presentations designed to recover and re-situate work by less well-known practitioners of photo-conceptualism since the 1970s: prints by Vikky Alexander at Downs & Ross simulated the commercial advertising trope of the white female seducer, while Lynn Hershman Leeson’s generous survey at Bridget Donahue blended examples of her video/sculpture hybrids, among them the tenderly appointed living room from her work Lorna (1979–84). Each artist contends with the implications of female embodiment and social perception, and they share an overarching contention that public persona as commodity, however you valuate it, is regularly exchanged in the contemporary marketplace…