John Gast's 1872 painting American Progress depicts a colossal woman striding westward as Indigenous people flee. Liz Glynn's response—a disembodied copper dress, hyper-reflective and hollow—is currently on view in Paula Cooper Gallery's vitrine. The dress is a shell of ideas that no longer hold weight. "It's just a story," Glynn says, "and it's in decline." On view during the United States' 250th anniversary, the timing is its own argument.
