the twenty-three-year lapse between The Divine Face (1971) and Eyes of the Beholder (1994). Though many of the works created by Saar in the 1990s and 2000s remained conceptually cohesive in the broader context of the exhibition, the absence of both sketchbooks and work from the 1970s and 1980s was conspicuous. Given Saar’s ongoing engagement with black nationalist aesthetics and second-wave feminisms, the dearth of work from nearly two decades rife with political, religious, and cultural wars in America was glaring compared to the nuances otherwise apparent in Saar’s chronology. And though Saar is perhaps one of the most prolific assemblage artists in the Los Angeles area to date and is still producing critical works at the age of ninetythree, her concurrent dual-coast solo exhibitions seemed to reveal more about the institutions exhibiting her work than cohesively celebrating Saar’s legacy.

中文翻译：

---

嵌入建构主义

《神圣的面孔》（1971 年）和《旁观者之眼》（1994 年）之间的二十三年间隔。尽管萨尔在 1990 年代和 2000 年代创作的许多作品在更广泛的展览背景下在概念上仍然具有凝聚力，但 1970 年代和 1980 年代的速写本和作品的缺失是显而易见的。鉴于萨尔对黑人民族主义美学和第二波女权主义的持续参与，与萨尔年表中其他明显的细微差别相比，美国近二十年来充斥着政治、宗教和文化战争的工作缺乏是显而易见的。尽管萨尔可能是迄今为止洛杉矶地区最多产的组合艺术家之一，并且在 93 岁时仍在创作批判性作品，