Review: Hannah Wilke, Alison Jacques
Bart Van Der Heide, frieze
September 2007
On entering the central space of Hannah Wilke’s solo show at Alison Jacques, one is left with little to the imagination: the exhibition presents early work that is diverse in its use of material but persistently uniform in its iconography. As a key player in the feminist institutional critique of the late 1960s, Wilke defined her position by using the aesthetic language of her opponents (that is, the male sculptor), submitting it to the sexual charge of the female organ. […]