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This makes me think back to what everyone was discussing about Groys’ lecture – the “weak” and “strong” images. Sex sells, it’s “strong,” but there isn’t anything else here, which is why these vignettes fail where Murakami succeeds. His sculptures complicate sexiness with surreal “weak” elements, like the Lonesome Cowboy’s lasso. This makes the viewer more imaginative and involved with the work than big tits and a passive stance could ever muster.

I take back what I said about there being nothing else – there are explicit references to Murakami with the smiling flowers. Typical of late Postmodern art – you can’t mock Judd and Serra anymore because everyone’s done it, so people are going after their own movement. It’s too insider for anyone other than art people to appreciate, and it doesn’t add anything to the work.

I disagree. Think there is a lot of “else” here. Murakami almost just did figures for figures sake. I feel that the artist is simultaneously mocking and extolling the virtues of the feminine sexuality. More of a feminist statement than Murakami which I just take as fun, playful figures. I like the added stories and accessories which hone in on feminine cliches. They are like mini photographs capturing moments. You feel like a voyeur. It’s more personal and specialized for me than Murakami’s fiberglass statues.