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When Liliana Porter came to Flatbed’s studios in 2008, she developed nine, polymer photogravures working with a theme based on her photographs of ceramic and wax, dog figurines, she composed some as single images, and in two prints, combined the lens-based images of the dogs with human figures. In To Dance, she displays her a selection of figurines that are involved in dance. The woman of the dancing couple is has lost her head. This sort of conceptual playfulness and intellectual gamesmanship is typical of the artist’s work in various media, and places her work solidly within the conceptual mode of working that has been a continuing part of American art since the 1970s.
