In one of the narrow cubby holes on the third floor, Calvin Brett draped a dense mat of scrap fabric that folds over the room like a heavy tattered skirt. With the inclusion of mirrors, mannequin forms, a worn chair, and a box spring, the installation calls forth the dark, dank aspects of erotic life and the building’s history as the possible site of a brothel in the 1920s.
The Shag Room builds on and over previous uses of the room, echoing forms of other works in the museum. Photographs of Sarah Ann’s sculptural assemblages SunBathers (2013) and ribbon tassels from Nestor Armando Gil’s La Mar del Esperanza (2012), both previously constructed for this space, have been absorbed into Brett’s creation. Mannequin legs suspended from the ceiling recall a tent of skirted dolls with an underworld of bare legs in the tea party room, and colorful bands of connected fabric hanging throughout the installation evoke the areola of clothing that makes up Guerra de la Paz’s Six Thai Trannies (2008) on view in the first floor of the museum.