The birdcages of the late Japanese artist Tetsumi Kudo are exquisite to behold – that is, until you actually look inside. The longer you stare into them, the more unsettling they become. On the outside, Kudo’s metal cages are clad in fun, bright colors often decorated with lovely plastic flowers. But inside the prison something more sinister is afoot. Grotesque body parts are sitting on bird swings, biomorphic growths are clinging to the metal cage, a mold-covered hand is clutching one corner, and menacing looking plants are co-habitating with electric circuit boards. Kudo worked on the birdcages from 1965 until 1981, a time when the threat of a nuclear apocalypse was overwhelmingly part of the public consciousness, pollution and consumerism was chocking body and mind, and when the antagonistic relationship between humans and technology was just being understood. Shockingly, twenty-six years after Kudo’s death, the nucleus of his wide ranging transcultural practice is still pertinent today. At Andrea Rosen through November 16.