In this recent series of thirty-nine works produced by Lynda Benglis between 2014-16, the artist's iconic and anarchic handling of free form is shaped in small sculptures made with handmade paper, wrapped around a chicken wire armature. With many of these works, Benglis painted the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black; at other times she leaves the paper virtually bare. Perhaps in reference to her new locale of New Mexico, their lustrous patterned texture almost resemble snakeskin cowboy boots. The sculptures are light and open, with slits and apertures revealing their supports, the modular texture of the wire sometimes showing through the paper itself. In an interview, Benglis described her process as ‘drawing with air, and wire, and paper’. The tubular and folded forms of many of these sculptures refer back to the sexual politics at the heart of Benglis’s career, simultaneously evoking phallic and yonic shapes. Whilst some of the titles are straightforwardly descriptive – e.g. HANDMADE WAX OFF (2014-16) and BUTTERFLY TUBE (2015) – many of the works bear names that are humorous in their opacity, seemingly bearing little relationship to the objects themselves.