An all-female cast of Neolithic fertility idols, Egyptian slave girls, maenads, Celtic she-devils, lingerie models, and 20th century war victims populates the collaged paper scrolls and friezes in “From Victimage to Liberation: Works from the 1980s and 1990s” at Galerie Lelong. Transferred onto zinc plates, the characters in Spero’s so-called “sock company” of 450 female archetypes serve as iterable and interchangeable hieroglyphs in her recursive body of work. At the time the works were made, this aggregative strategy solved a practical problem — Spero’s dexterity gradually deteriorated after she was diagnosed with rheumatoid arthritis in 1961 — but it also portended the remixing tendencies of postmodernism and Internet culture. If she had lived, Spero would have been an aficionada of the Pinterest board... [read full review here]

— Chloe Wyma