Coming straight from Lisson Gallery in London, Rodney Graham’s new lightboxes display familiar elaborate stage sets where the artist is the main protagonist. What sets these new works apart, however, is a unique approach in dissecting identity stereotypes. The guy in “Tattooed Man on the Balcony”, could be anybody’s neighbor, an ageing but still muscular musician-type with an open shirt, the fold-up chair as his throne and a bright red BBQ, leaving no doubt that this man is in charge of the cooking. Yet the man’s gaze and posture are ambivalent. Violent thug or friendly neighbor? The viewer decides. A different kind of masculinity is on display in the monumental quadriptych “Vacuuming the Gallery, 1949”. Based on a photograph of famed gallerist Samuel Kootz smoking a pipe in his Picasso exhibition, Graham softens the male-dominated 1950s New York gallery scene by domestifying the setting and inserting a gender-specific household chore. Is the gallerist signalling arrogance and control or an open-mindedness towards gender roles that precedes his time? It is a brilliant piece in which Graham, ever the performance artist, cleverly supplants the Picassos with his own work (which are based on a Rodchenko drawing and are displayed elsewhere in the gallery) and forces the mammoth size and strange panorama angle into total viewer submersion. Graham’s multi-faceted investigation into masculinity extents to his process where his sharp lightboxes are made of layering multiple photographs into one final set. Graham has a firm place in the distinguished group of multi-disciplinary contemporary artists that understand cross-cultural histories and mine philosophy, literature and art history into a contemporary understanding of our culture. At 303 gallery through February 23.