Lynda Benglis ever anything but a paradox? From her fabulous late-Sixties latex floor paintings riffing on Abstract Expressionist machismo to the aggressively sexy feminist work she made her name with in the Seventies (recall the notorious Artforum ad for her Paula Cooper show where she wore only a double dildo and sunglasses), the artist mastered the come-hither/fuck-you vibe. Now in her seventies, Benglis seems — for a quick second — to have mellowed. But look closer: Her latest suite, debuting at Cheim & Read, comprises sculptures with spiky edges and a don't-touch-me aura that come off like a series of three-dimensional sketches. Fan Farinade (nearly five feet long) is made from chicken wire and wrapped in fleshy-colored paper that looks like a tough carapace; others have glittery, flirtatious surfaces adorning prickly bodies. But it's the show's anchor, a large-scale work called The Fall Caught, that will keep you riveted.
Lynda Benglis, Lure, 2016. Courtesy the artist and Cheim & Read.