Yoon interrogates the maternal subject in this series, which will especially resonate well with mothers balancing work and child care in the midst of a pandemic. Set against richly coloured backgrounds that refer to advertising, Yoon’s use of “blatant artifice” addresses an important early context for her work—Vancouver photoconceptualism. Critically engaging with other predominantly masculinist practices—Abstract Expressionist drip painting, post-Duchampian practices and performance through a nod to Bruce Nauman’s Self Portrait as Fountain (1966)—Yoon asks: Can artist be both culturally productive and biologically reproductive? Can a racialized, feminist subject be an art historical subject?

- Ming Tiampo