Margaret Adachi, Pret-a-poulet, 1999. Mixed media, installation view.

Margaret Adachi

Santa Monica

Robert Berman Gallery

Things aren’t always what they seem. ln fact, in consumer culture they’re usually better. At least that’s what Margaret Adachi’s new installation, Pret-a-poulet, suggests. Exploring the chasm between reality and what the philosopher Jean Baudrillard calls hyperreality, Adachi parodies the processes by which consumer products both spearhead market desire and supplant the real. Adachi crafts pseudo-supermarket chickens of fabric and wire. As she suggests, even when what is being marketed is familiar and ordinary its “trotted out season after season, to be put on display, desired and admired until its brief shelf life has expired.” … See the print version of Sculpture Magazine for the full review.

Margaret Adachi, Pret-a-poulet: Big Orange, 1999. Mixed media, 17x12x10in.