Growing up in Depression-era Bronx, Rosalyn Drexler’s parents would often take her to Vaudeville acts around town. The boisterous shows, soon to be replaced by radio and PG-rated Broadway revues, proved fertile ground for Drexler, whose polymorphous career would lead her from self-taught artist, novelist and playwright to a brief stint as a professional wrestler. A brilliant exhibition at Garth Greenan overflows with the spectacle, loneliness, violence and shallow glitz of showmen, artists, and gangsters and reveals the artist’s exceptional gift for teasing drama out of color and form. Drexler’s moda operandi often involves appropriating popular imagery from magazines and other print media which she then manipulates with popish colors, a process that she calls “embalming”. The resulting collaged narratives drip with dark humor and sardonic parody. Two paintings in the show circle back to Drexler’s burlesque childhood adventures. “Greatest Show on Earth”  and “Woman Sawed in Half”, both from 1989, are complex and surreal scenes that echo Drexler’s pastiches, but the inherent flatness of paint imbues them with a solid absoluteness where her collages deal in ambiguity. They are part of an extra-ordinary polymath art career littered with unpredictable twists and turns and a penchant, even at ninety-three years old, for playing the irritating gadfly with unabashed glee. At Garth Greenan through March 30.