exhibition, "Junk Anthropologies", marked a new direction for the American master of philosophical funk, where he re-established himself as a master painter in the grand tradition. The focus of the works is about the ongoing corruption of Bali that he witnessed being a resident there, with the styles greatly influenced by Paul Gauguin, for whom he held a perennial obsession. From April to August 2017, Bickerton had his first UK retrospective at Newport Street Gallery in London. Entitled "Ornamental Hysteria" and spanning more than three decades of the artist's career, the exhibition presented 51 works, many of which were new and previously unexhibited pieces. Amongst the featured works was Canoe, Shark, Woman (2016), a sculpture created in Yogyakarta Art Lab, which The Guardian described as "[having] the look of the ritual artefact of Bickerton’s tropical island obsession, creating a power object or fetish (as islanders do) with found objects (fish, flowers, beads) that is the more hypnotic for its solemn parody – silver vestal offering a hammerhead shark, coconuts in her Indonesian canoe". In 2022, Bickerton had two solo shows in New York. His show at Lehmann Maupin gallery, titled Seascapes at the End of History, includes art objects from his Ocean Chunk series that were first conceived while living in New York City prior to his relocation to the Indonesian island of Bali in 1993. This exhibition was curated by 56 Henry gallery founder Ellie Rines and a second show at Jamian Juliano-Villani's gallery was at O'Flaherty's on Avenue C. The press release was written by the contemporary artist Jordan Wolfson. Work Bickerton's work explores issues in contemporary art related to the commodification of the art object itself. Often his objects are grotesque in a self-aware manner and are often a critique on capitalism. Early constructions In the 1980s Bickerton made a series of works which resembled packing cases and crates, covered with corporate logos. His early work is noted for its display of corporate logos and constructions titled as either "Self-Portraits," "Commercial pieces," or "Anthropospheres." They are typically Assemblages of technological or industrial materials with the inclusion of found elements and screen printed iconographic images. These seemingly functional objects without clear purpose are often covered in various logos, technological signage, and codes. His artwork "Abstract Painting for People 4" made in 1987 is now included in the collection of François Pinault (since 2007). Singapore Tyler Print Institute The