Among other distinctions, Spring Break is the only Armory Week fair to spill over to Monday, which fits its image of youthful overreach. It is the most anarchic and exuberant of the fairs: each room of these administrative offices of the USPS (the space has a David Lynch-like quality, a time-capsule of New Deal-era bureaucracy) has its own curator. Myla Dalbesio, for instance, orchestrated a suite of rooms into “you can call me baby,” with various post-feminist takes on the overarching theme of the fair, “cut and paste.” Erin Riley’s (2015), for instance, appropriates a moment of girl-on-girl porn frozen on an iPhone. A postmodern gesture if ever, except that if you look at old tapestries there’s often fun and naughtiness going on there, too.
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