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The film is titled, rather absurdly:Confess All on Video.
Dont Worry You Will Be in Disguise.
The YBAs were seen as iconoclasts and provocateurs, many of whom seemed comfortable in the public eye.
Wearing, however, preferred to be anonymous the conductor with her back turned to the audience.
Wearings work was eventually absorbed into the art worlds commercial machinations.
The composite avatars are garishly lit, emblems of the uncanny valley.
Co-curators Jennifer Blessing and Nat Trotman organized the show partly chronologically and partly thematically.
That approach can sometimes feel scattershot.
But the layouts narrative through-line mostly befuddles, making it hard to grasp Wearings evolution as an artist.
The most memorable work in the show is Wearings photo series Family Album, which she began in 2003.
She dresses as Arbus, Georgia OKeeffe, Robert Mapplethorpe.
The masks form creases under her eyes, along her jawline, around her nostrils.
If there is any one idea that unites Wearings projects, its that the self is fundamentally unknowable.
Theres little room for interpretation when the images are so heavy-handed.
In Wearings most successful projects, shes a chameleon, eschewing tidy narratives in favor of ambivalence and complexity.
In trying too ardently to produce work that could be topical, Wearing veers off course.
It was the first time Wearing had appeared as the subject of her own work.
