Alina Szapocznikow: Sculpture Undone, 1955–1972

It’s good to see Szapocznikow “finally receiving the broader attention she deserves.”

Museum of Modern Art, New York

Through Jan. 28

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It’s good to see Szapocznikow “finally receiving the broader attention she deserves,” said Jason Farago in The Guardian(U.K.). This is the largest exhibition of her “fragile, erotic, and always disarming” sculpture ever to appear outside Europe. The trials that Szapocznikow endured, beginning at Bergen-Belsen, load her work with meanings that are always just beyond reach. Bouquet II (1966), “a spindly humanoid” with four mammary glands at her feet, feels “monstrous but also ecstatic.” With Tumors Personified (1971), Szapocznikow confronted her illness, creating a dozen resin casts of her own face and then molding them into “malignant little balls.” Her last sculpture series, “in which she crushes her cast face into two dimensions, is almost too raw to contemplate.” Yet doing so seems absolutely necessary.