The best of Rachel Harrison’s smartly snarky, heavily attitudinal, sometimes traditional-looking new free-standing sculptural amalgamations—some of which sport stuffed chickens and diet drinks—look as if Robert Rauschenberg, Jean Dubuffet, Louise Nevelson, and John Chamberlain made sculptures together and had Renoir and Hans Hoffmann paint them while Jessica Stockholder, Isa Genzken, and Franz West kibitzed. As you circumnavigate her angular cubistic twists and craggy abstract caryatids and columns you get reverberations of these artists as well as histories and -isms gone-by.
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