Josephine Meckseper’s Untitled (End Democracy) uses minimalist aesthetic as a tool of numbing seduction. Set atop a display unit reminiscent of Robert Morris’s mirrored cubes, Meckseper presents a lingerie shop mannequin and a Communist rally poster, converting their cold manufactured presence into a monument of classical heroism. Reflecting its surrounds, Untitled exudes an entrancing charisma, encapsulating all as equal its torpid and alluring wake.