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E.V. Day, Transporter 
Henry Urbach Architecture through June 3 
(see Chelsea). 

E.V. Day has made a name for herself by putting a literal spin on the idea of deconstructing fashion. For instance, in her installation Bombshell at the Whitney Biennial, she explodes a replica of Marilyn Monroe's famous dress from The Seven Year Itch by rendering the thing as a suspended network of guy wires and fabric shards. In another work, created for P.S. l's "Greater New York" show, Day accords the same treatment to a blow-up plastic love doll—thus reimagining the Kama Sutra calculus of sex toys for a virtual world. For Transporter, her latest piece at Henry Urbach, she doesn't so much shred an outfit as morph it into a special effect: Day "beams up" a one-of-a-kind sequined Stephen Sprouse dress in a Star Trek–style dissolve created with spotlights, mirrors and surgical sutures. The result is less explosive than sublime; the dress appears to be shedding its material presence, becoming instead the wearer's fantasy. The installation's girlish futurism is enhanced by the inclusion of another work, Celestial Pelvises, in which outlines of the female pelvis are twisted out of wire, bejeweled with dried drips of resin, and suspended in 

groups from the ceiling. Carefully spotlighted, each of the pelvises seems frozen in an eternal moment; they suggest tiaras at Tiffany's, or maybe deluxe S/M devices. Both works are displayed in a gallery painted a deep-sea blue, which only emphasizes the out-of-body eeriness of Day's work. Maybe eeriness is the wrong word; it's more like the calm before the disco-fever storm.—Robert Mahoney