Zoë Buckman’s uterus has been doing the rounds on social media. The Brooklyn-based artist made the kinetic sculpture, which comprises a neon outline of an abstracted reproductive organ with fibreglass boxing gloves as ovaries, in the run-up to the 2016 US election, amid conversations about contraception, abortion and rape. Six years later, with abortion no longer protected under the constitution, the work is sadly just as relevant. “I appreciate anyone who shares it because it was intended to be a piece about resilience and resistance that united us,” says Buckman. “But for me, it’s become something that’s associated with bad news. I see that someone’s posted it and I think, ‘Oh God, what’s happened now?’”
