'Ostoya’s display is akin to a detective’s evidence wall. She dismantles the Italian artist’s painting and reimagines alternative scenarios for the gruesome biblical story we can see, which has merged with the real-life rape of Gentileschi we can only imagine.' Lara Atallah, Artforum

'When he looked at Anna’s compositions, a whole complex of concerns was activated: the original painting(s), the biblical story, the historical rape, the history of the painting’s reception and that reception’s ongoing revision, both academic and popular, in which Gentileschi’s heroicization and victimization can be difficult to tease apart, and in which the boundaries between art and life are particularly vexed. The way Anna switched features and genders across the series of paintings and related photo collages—here a bearded face replaces Judith’s; there a manipulated photograph of Anna’s own face, barely recognizable, shows up in the position of Holofernes—further compelled him to revise his sense of the political valences of the brutality as he looked. (It also crossed Baroque painting with digital technologies—crossed old mastery with iPhones and Snapchat filters.)' Ben Lerner: Late Art

Bortolami: Slaying, 25 Feb – 23 Apr 2016