masks. In 1992, he had a show at the Randy Alexander gallery. Work included a stained orthopedic mattress covered with dildos, a medical model of a diseased scrotum, a prosthetic leg brace attached to a three legged chair, and a wheelchair balanced on top of an aluminum stepladder, the latter piece representing shamanism.
Untitled by John LeKay, 1991, ladder and wheelchair
Critic Gretchen Faust wrote, “There is a quirky humor underlying the work that reverses without warning into a strange and cutting malevolence”. In December that year, in a group show, Fever, at Exit Art in New York, he exhibited a leg brace resting on a three-legged chair.
In April 1993, with a reputation as a “participant in a half-dozen trendy group shows” and a trung out enfant terrible, he held a show at the Cohen Gallery which schewed his previous sexual gimmickry, effectively blending humor and horror.11] It was called The Separation of Church and State, consisted of installations from found objects, and was held in two stages with strong references to Christian iconography.. Two sculptures were shown in the first part of the show. The title piece was a cruciform over stained carpet with a wheelchair in the centre on a mattress and Guns N Roses emanating from a tape recorder. A cross formed from items such as brooms and curtain rods connected to four assemblages of household junk, such as a stainless-steel sink on top of a dirty kitchen cabinet, and a headless Madonna and Child sculpture on a black and white television set resting on a leaning toilet. The other installation, Lazyboy Jesus, 1991-92 was a dime-store image of Christ on a Naugahyde La-Z-Boy armchair.
Andrew Perchuk in Artforum saw in the display, “psychological disablement, the inability to experience the