Privileging neither photography nor sculpture, Rachel Harrison (b. 1966, New York) makes work that permits formal diversity without material rivalry. It is never one medium against the other in her installations—stagings is perhaps a better word—but rather, objects and images coexisting. It can be a peculiar coexistence though. In one piece from 1996, old black-and-white photographs of celebrities (such as Johnny Carson) were affixed to a yellow papier-mâché form resembling a giant lemon balanced between three vertical poles. A recent installation, Perth Amboy (2001), consisted of a labyrinth-like structure made out of sheets of ordinary corrugated cardboard. Upon entering, viewers encountered things like a wheelchair-bound, Barbie-like doll named Becky, random canned goods, various reproductions of artworks, and a series of framed color photographs of the front of a house in Perth Amboy, New Jersey, like the one shown here. The images refer to an actual incident that happened in 2000: an image of the Virgin Mary appeared on the glass of a window of the home, drawing miracle-seekers and the faithful, who stretched out hands and arms to touch the vision, as if just looking was simply not enough.