An air of abandonment pervades the sculptures and installations of Doris Salcedo, who for nearly four decades has sourced her materials and inspiration from testimony she gathers from victims of war and extrajudicial violence. Neither representational nor wholly abstract, these works have a metonymic effect: a broken chair, a wardrobe sunk in concrete, or a shoe sewn up in a cow’s bladder invoke the bodies who left them behind. While Salcedo’s work may be difficult, it is also sublimely beautiful. Against all odds, grass pries between the boards of a wooden table. Water bubbles up through densely
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