Mutated Reality: Group Exhibition

George Condo’s Spiderwoman (2002) exemplifies this approach with a hybrid form that fuses the elegance of the classical nude with grotesque, Boschian distortions. The figure exudes self-contained sexuality, yet is fractured and uncanny—an emblem of postmodern identity.

This fractured sensibility carries through in Chuck Close’s monumental portrait Shirley (2007), where decorative pixilation dissolves the human face into a shimmering mosaic. Evoking the faceted faces of Picasso, Close’s work resists photographic realism in favor of something more intimate and abstract—identity rendered as an accumulation of marks, impressions, and digital echoes.

Further interrogating mass culture, KAWS reimagines cartoon characters as postmodern icons. Like Warhol’s Campbell’s Soup Cans, his work captures the spirit of our commodified, image-saturated world. Yet KAWS goes further—injecting pathos and narrative into the slick surfaces of popular media, exposing both their allure and emptiness.

Mike Kelley delves into cultural mythmaking with Kandor, a series named after Superman’s bottled city. These glowing miniatures explore our collective fixation on utopia, justice, and omnipotence—concepts as seductive as they are unattainable. Kelley’s work suggests that even our fantasies are now subject to mutation, compression, and critical reappraisal.