The collaged works in C.T. McClusky: Circus Surreal are installed in an orbit around a suitcase that sits on a pedestal at the entrance of the gallery. Bathed in a warm yellow spotlight, with edges warn away, it greets visitors with the word “circus” affixed in large  letters peeling from its surface. This suitcase is presented as a surrogate for the artist, of whom little is known, beyond the unverified claim that he was a traveling circus clown.

Co-presented by P.P.O.W. Gallery and Galerie Lelong & Co., Irrigation Veins pairs Ana Mendieta’s work with Carolee Schneemann’s, a concept that was proposed by Schneemann herself in the last year of her life. This is the first time that the artists have been put in direct dialogue with one another in a two-person show.

Jarry drew from the Symbolist movement of his own time but also made use of a unique methodology involving radical typography, appropriation of found images, and language that mixed profanity with terms lifted from scientific magazines. The legacy of his ideas found new life in Dada, Surrealism, the Theatre of the Absurd, and far beyond.

Spread across three rooms, the exhibition is an intimate showcase of how a basic graphic motif can be deployed in a diverse array of mediums and styles, with works ranging from graphite wash on paper, to oil on canvas, watercolor, acrylic, and collage.