The work of German artist Isa Genzken is emblematic of what has been described the “post-medium condition” of post-1960s art, drawing from—and blurring the boundaries between—painting, sculpture, photography, and installation. In her work, she explores aspects of consumer society, media, design, and the everyday environment, considering the social and ideological implications embedded within aesthetic choices. Genzken first rose to prominence in the 1970s with architectonic sculptures that suggested a dialogue with Minimalism and Constructivism, but over the course of her decades-long career, has continually explored new modes of working, ranging from Pop-inspired public art works such as Rose (1993), a massive sculpture of a single long-stemmed rose in Leipzig (a replica of which, Rose II, was placed on the façade of the New Museum in 2010) to chaotic, DIY assemblages comprising found objects, photographs, and various building materials.

Genzken’s exhibitions include solo shows at institutions such as the Whitechapel Gallery, the Vienna Secession, and the Malmö Konsthall, and she represented Germany at the 2007 Venice Biennale. Her work is the subject of a forthcoming exhibition at the Museum of Modern Art in late 2013, which will travel to the Museum of Contemporary Art Chicago and the Dallas Museum of Art.