In modernity, violence finds expression not only in social action, but also in omnipresent objects, facilities and urban structures. The severity of the aggression is condensed in both form and material. The geometric austerity suggests functionality; the reflected light of the metallic surfaces creates distance. The shape, shine and hardness of the resistant materials testify to their strength and power, endowing the objects with immediate brutality. In her works, Cady Noland (b. 1956) uncovers the violence we encounter every day in scenarios of spatial and ideological demarcation. She thus exposes the alleged neutrality of material and form. The supposedly clear distinction between objects and subjects becomes blurred, the unceasing interaction between them evident. The US American flag, charcoal grills, bridles, cowboy saddles and weapons are all symbols of American identity. Yet the myth of the American dream, which Noland – with apparent naivety – takes seriously, has be
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