From April 9-30, 2017, artist Rosalie Le Forestier is exhibiting a sculpture made by her mother, Kacha Legrand. One part of Le Forestier’s performative practice is to photograph this work in as many places she visits as possible (she has already placed it at LACMA and the Getty Museum). This is not meant as an act of appropriation, but as a way to honor the artist-mother, to practice feminism, and to call attention to the exhibition pedigree of an object in a humorous way.

The sculpture is made of wood as a block with “steps” carved symmetrically on either side, reminiscent of Mayan architecture or Art Deco jewelry. Like jewelry and architecture, it is “scalable;” a fact that is made more apparent by the scalability of the Proxy Gallery itself. The institutional nesting mirrors the nesting of artistic practices: the work of Kacha Legrand is part of Rosalie Le Forestier’s work, which is now part of Annetta Kapon’s project, the Proxy Gallery.