In a side gallery, the artist presented Kamikaze, 2005, a post-and-lintel
balance beam painted in cartoonish woodgrain, and topped by models of the severed front quarters of two miniature horses (each consisting of two legs, a neck, and a chest, with no head and no behind).
In the '80s, the now-familiar post-and-lintel
composition begins to appear, handling of paint becomes freer, edges are more animated, the juxtaposition of color seems bolder, and the canvases attain a greater physicality.
This time, she put more emphasis on the vertical, using wood-and-steel post-and-lintel
joinery and pipes to support a gridwork of wood, steel, aluminum, and string, while an intricate iron latticework snaked from floor to ceiling through a deluge of centrifugal white plaster pendants.