12 SEP until 15 NOV 2025
Opening – 11 SEP 2025, 6-10 pm

Andrea Fraser (born 1965, Billings, Montana) currently lives and works in Los Angeles, California. Widely regarded as one of the most influential and provocative artists of her generation, Fraser’s groundbreaking work in institutional critique has examined the social, financial, and emotional economies of cultural organizations, fields, and groups since the mid-1980s. She has used performance, video, text, and a range of other forms to explore the motivations of artists, collectors, gallerists, patrons, and art audiences – ranging from financial investment to the pursuit of prestige, sexual fantasy, and self-fulfillment. Combining the site-specific and research-based approaches of conceptualism with feminist investigations of subjectivity and desire, Fraser’s work is infused with incisive analysis, humor, and pathos. The result was described by Pierre Bourdieu as “a sort of machine infernale whose operation causes the hidden truth of social reality to reveal itself.”

Fraser’s work has been exhibited worldwide, in solo shows at institutions such as the Hammer Museum in LA, Künstlerhaus Stuttgart, the Art Institute of Chicago, the Whitney Museum of American Art, and the Museum Moderner Kunst Stiftung Ludwig in Vienna, amongst many others. She has represented Austria at the 45th Venice Biennale and has participated in the Whitney Biennial, the Bienal de São Paulo, and the Shanghai Biennale.

Andrea Fraser’s new work, Untitled (Objects) (2024), introduces five life-sized sculptures of toddlers mode-led out of wax, marking Fraser’s return to exploring the intersection of emotional and financial economies in art. With this series, Fraser revisits themes from her earlier works, such as the video Untitled (2003), which documented an intimate encounter between Fraser and an art collector, raising questions about the commodification of art and its financial transactions. Each sculpture in Untitled (Objects) might remind us of what it means for artists to sell their work and for collectors to buy it, with each piece representing one of the five editions of her 2003 video Untitled. Alternatively, these sculptures may represent the artist herself, reflecting a more primal desire to be valued and cared for in the same way that art objects are desired, valued, and preserved.