Kara Walker operates in the liminal—that in-between space of overlap and displacement at the border and on the margins—intent on undermining and transcending fixed definitions and domains of difference. Whether in the form of cut-out silhouettes, for which she first gained recognition, or in more recent projects, including an exhibition that she organized for the Institute of Contemporary Art (ICA) at the University of Pennsylvania, a large-scale sculptural installation at the Domino Sugar Factory in Brooklyn, and a follow-up exhibition at Sikkema Jenkins gallery, Walker’s work navigates the presumed positions, categories, and assumptions that shape and circulate around the racial, sexual, and gendered body as it traverses time, place, and space. …see the entire review in the print version of January/February’s Sculpture magazine.
