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With everything from school doorknobs to lacquered toenails available in limitless designer flavours, right now the designed world seems to be colonised by artists riffing on its social-cum-political implications.

Palm Springs artist Jim Isermann filled the temporary chain-link fence with 40,000 plastic cups in a two-tone Greek key design intended to complement the museum's postmodern architecture and marble exterior. The result is \"Untitled (Greek Key) (0106),\" composed of 20 sections of 10-foot-long fencing.

The rodent-laden work by New York artist [KIM JONES] is the most public face of Disparities and Deformations: Our Grotesque, SITE's new biennial exhibition. When it was suggested to the artist that the untitled piece will, to some extent, tell everyone what's going on inside, Jones responded, \"It will tell everyone what's going on inside me.\" After the removal of the silver panels put up by [Jim Isermann] for the 2001 biennial Beau Monde: Toward a Redeemed Cosmopolitanism, Jones was left with a steel grid anchored a couple of feet out from the building front. His response, so far, involves bundles of twigs tied to the front of the grid segments to obscure the metal frame; hand- painted skulls, eyeball-crossed figures and rats that look more like kangaroos, on the building front; rudimentary stick sculptures hanging in the space between the building and grid; and all those rubber rats on the grid and hanging from poles at the top. Jones' series of artworks called War Drawings goes back to his childhood. They began with a maze idea taken from children's books and became more complex portrayals of x's and dots and black tanks and white tanks fighting each other. When characters \"died,\" Jones would partially erase them so the history of the conflict could be read in the ghost images. The drawings were separate from his art until people started buying them after he showed some in 1990 at the Lorence-Monk Gallery in Soho.

  \"Im sharing my pleasure,o [Hickey] said about the biennial. \"The only occasion to learn anything about art is to The Hickey-Graft remodel for Beau Monde makes ingenious use of SITE Santa Fes loading dock. The art-space SITE Santa Fe director Louis Grachos said he loved [Dave Hickeys] idea of marrying special architectural spaces with

Outside sparks flew from a welding gun and artist Jim Isermann of Palm Springs, Calif., mounted the first of 650 2-foot-square vacuformed panels that will eventually encase the building in an eye tickling silver geometry. [Dave Hickey] invited nearly 30 artists to participate in the exhibition, including Graft Design of Los Angeles, which reshaped the headquarters of SITE Santa Fe, first using architectural computer software and this week using drywall and plaster. Krysten Cunningham positions one of 650 tiles Friday as part of artist Jim Isermann's installation at SITE Santa Fe.; Photo: JOSH STEPHENSONS/JOURNAL; Color

On Thursday, the Santa Monica Museum of Art transformed its big, central gallery into a bracing rumpus room for the eye, the mind and the soul, courtesy of a 15-year survey of sculpture by Jim Isermann. The three dozen works in this concise presentation comprise the most satisfying show yet in the museum's inaugural year at Bergamot Station. Isermann's work is sculpture in an expansive sort of way, one that accentuates any craftsmanship that results in a tangible object. Making is meaning in Isermann's art, which turns elusive social and cultural dynamics into material stuff. Look at the amoeba-like shape of a fuzzy chair seat, and your visual memory riffles through curious layers of reference: the scientific foundations of modern life, which begat the biomorphic soup of Surrealist abstraction, which filtered into popular styles of middle-class furniture, which here get pulled into contemporary sculpture. Most of all, however, there is Andy Warhol, whose category-busting, gender-bending precedent Isermann's art pointedly acknowledges. A 1985 group of brightly colored pictures of stylized flowers painted in shiny enamels derives from Warhol's famous 1964 flower paintings. Rather than silk-screen a pastoral photograph of flowers torn from a seed catalog, as Warhol did, Isermann adapted the machine-fabricated \"Summer of Love\" floral decals that became ubiquitous in Warhol's wake, adorning everything from bathtubs to Volkswagen buses.

Matthew Weinstein reviews an exhibition featuring the works of Jim Isermann at the Josh Baer Gallery in New York City.

[Jim Isermann], who joins artists like Jorge Pardo and Andrea Zittel as a pioneer of art about design, has not received his due in New York. That may be because this Los Angeles artist has tended to favor visual pleasure and Pop-style humor over obvious conceptual programming, and until now he has not had a Manhattan gallery that gave him room for his more expansive ideas. His enveloping installation at Deitch may still be too conceptually understated and ambiguous for New York, but it is quietly spectacular. Its cool beauty and absorbing complexity will grow on you as you spend time with it.

Four art exhibits are reviewed: \"Affinities with Architecture,\" beginning its tour at the Belk Gallery at Western Carolina University in Cullowhee NC, \"Fifteen: Jim Isermann Survey,\" beginning its tour at the University of North Texas Art Gallery in Denton TX, \"Young Americans 2,\" at Saatchi Gallery in London, and \"Equal Partners: Men and Women Principals in Contemporary Architectural Practice,\" at the Smith College Museum of Art in Northampton MA.

1. 'Untitled (0800),' installation by [Jim Isermann], at Portikus, Frankfurt 2. 'Untitled (0300),' die-cut vinyl installation by Jim Isermann 3. New Mexico writer [Rudolfo Anaya] 4. Tuba player [Albuquerques Mark Weaver], let, and drummer [Dave Wayne] perform in MAD Trio.