The performance began with a raucously spirited procession from the Push Pop Headquarters to PPOW Gallery in Chelsea. Dressed in hot pink and orange, the collective proceeded West, waving a flag and singing their characteristically oblique idiom. Confronted with Munson’s monumental piece, the Push Pops rolled around the periphery of the work bound together by pink and orange masking tape. While Munson’s piece makes an appropriately 3rd wave subversive gesture - exposing a kind of hyper feminine excess, deifying the calcified remains of the fetishized pink lot – the Push Pop’s intervention marks an important instance of reactivation of Munson’s original concern. Twirling in technicolor motion and reminiscent of a spring bouquet, popsicles or music box dolls, the Push Pops resemble the plasticity and stasis of the pink products, meanwhile, assert a new paradigm of bodily independence through their implacable physicality and equivocal cries. The Push Pops are taped, bound, tied, tethered… but only to one another.
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