Radical Plastic is a group exhibition featuring nine artists—Becca Albee, Carolyn Carr, Catherine Czacki, Rachel Debuque, Carson Fisk-Vittori, Mia Goyette, Michelle Grabner, Ria Roberts, and Carolyn Salas—who employ formal aesthetic languages to address more nuanced and human contexts. The exhibition title definitely considers the term “plastic arts” which has been used to apply to all visual arts, but has specific connotations with media that are malleable or manipulated in some way. Manipulation, and thereby plasticity, is not only a physical process or byproduct but also offers conceptual utility.

Radical Plastic is an opportunity to ruminate on a spectrum of in-between-ness, and what it means to be in the middle of something, as each artist proves adept at navigating fluid spaces, slippages, and liminal areas. Therefore, each state of in-between-ness—whether an orientation on formalism and interpretation, feminism and generational lineage, body politics and gender constructs—is offered as alternate radical suggestion, not simply middle ground equating neutrality. Renata Adler was one of the first people to develop a positive definition of the “radical middle”. In the introduction to her second collection of essays, Toward a Radical Middle (1969), she presented radical centrism as a healing radicalism. It rejected the violent posturing and rhetoric of the 1960s, she said, in favor of such "corny" values as "reason, decency, prosperity, human dignity, [and human] contact". Futurist Marilyn Ferguson added, "[The] Radical Center ... is not neutral, not middle-of-the-road, but a view of the whole road.” Continued here …