In the years following the Second World War, and after enjoying a relative brief period of economic independence, working women across America were expected to return to the home and family. Home sewing, with its associations of virtue and thrift, was a convenient mechanism to enforce a re-alignment of gender roles where men were earning the money and women stayed at home and spent it. A proliferation of sewing patterns in women’s magazine and girls’ curriculums emphasized quasi-Victorian values and the understanding that the safest place for a woman was in front of her sewing machine. In her new series of photographs, Erica Baum subverts twentieth century sewing patterns and instructions into conceptually driven abstractions. An elegant reciprocity between language and geometric forms invites beguiling art-historical metaphors that lead from the Supremacist drawings of Kazmir Malevich, via the non-objective patterns designs by Russian Cubo-Futirist Olga Rozanova to the austere fashion outlines of Lyubov Popova. This time around, Baum used pre-existing folds to add additional lines. Detached language fragments and the peculiar mustard yellow of sewing patters contribute to the sense that these works are scientific artifacts, or perhaps relics from a bye-gone era; as photographic evidence they function as imprints of imprints of imprints. Philosophically, the reductive state of these abstracted sewing instructions and their inherent flatness encourage associations not with the finished product but with the objectification of their makers. At Bureau through February 17.