??Chiang?s work certainly has that character, but to call it ironic would seem a too-easy relief of the work?s animating tensions. For example, the myth of Narcissus bears no uncertain irony, yet Chiang?s series of mirrors, Untitled (2003-2005), whose grounds she etched so as to leave only the familiar bands of ?iloveyouiloveyou??, challenge such an [...]
