No Man's Land

Rachel Harrison's current show ambivalently memorializes sculpture—and men

Once upon a time in the early 1990s, Leibowitz, who then also went by the name "Candy Ass," was a poster child of the über-popular burp variously deemed "Pathetic Aesthetic," "Abject Art," and "Loser Art." Leibowitz hasn't exactly been "left behind." His rousing 2001 Andrew Kreps exhibition, titled "Gain! Wait! Now!," included paintings that said "Stop copying me" and "Do these pants make me look Jewish?" Unfortunately, his follow-up show was lackadaisical and iffy. Leibowitz has always been an up-and-down artist. For the "up" part, before the first Kreps outing, he made colorful hand-painted signs that said things like "Don't Steal My Car Stereo, I'm Queer," "I slept with Martin Kippenberger," and "Knock knock. Who's there? Loser."

For this typically uneven, self-deprecating, cutely snide, and wonderfully double-entendre-laden show, Leibowitz includes a brightly colored circular painting that says "tondo schmondo," surrounded by knit caps that say "Fran Drescher Fan Club." There's also a series of lipstick-colored paintings that say "I Love Warhol Piss Paintings," a Marcia Tucker seat cushion, a Cindy Sheehan megaphone, and "J'Adore Gertrude Stein" buttons. Although this is only Leibowitz in his middle gears, the exhibition suggests he ought to show more. If he had been included in MOMA's current unfunny "Comic Abstraction" exhibition, for example, people might at least have giggled. If he were granted the franchise to open gift shops in a few American art museums, it could be even better.

Two-faced: Harrison's Rainer Werner Fassbinder
Courtesy the Greene Naftali Gallery
Two-faced: Harrison's Rainer Werner Fassbinder


Rachel Harrison: "If I Did It"
Greene Naftali
508 W. 26th Street
Through March 31

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