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To the sides of this brutal crucifix were two doors wedged open a crack to show spaces bright with light. Clearly, Gober was working with the nastier bits of contemporary American kitsch, drawing equally on Wal-Mart goods and churchyard displays. Like additional stigmata turned into tacky spouts, the nipples of the beheaded Christ gushed steady streams of water into a round hole cut roughly into the floor. Decapitated as if vandalized, this Jesus was flanked, in the customary positions of the two Marys, by spare tokens of suburban life: a white chair that looked plastic but was glazed stoneware (a yellow rubber glove hung from one arm) and a carton of yellow bug-lights in blown glass. And, in fact, on the far wall hung a crucified Christ (the figure was cement, the cross bronze like the planks, with an artificial robin perched on it).

The presentation of these things was at once forensic, like evidence laid out in a police warehouse or morgue, and ritualistic: We walked through the rows as down a chapel aisle. First, to the left, was a plank of faux wood in bronze (malformed, it seemed both molten and petrified) and, to the right, a bag of diapers (made of plaster sealed in commercial packaging that was both meticulously reproduced and slightly altered) then a milk crate with three more diaper bags and another plank (also in bronze) and, finally, two glass bowls filled with large pieces of fruit that looked plastic but were beeswax.

Like a plinth, each slab supported a particular object, which, as is typical of Gober, appeared readymade but was handcrafted. This makeshift pulpit opened onto two rows of three dirty-white slabs, which, though bronze, were made to look like leftover Styrofoam. Then, in the exhibition space proper, were two stacked garbage cans (also in unpainted plaster) covered by a sheet of plywood on which lay the folded shirt of a priest and a newspaper clipping showing a female delegate to the Republican Convention mocking the Purple Heart awarded John Kerry.

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At stake was the question of how to work through this present-past (Gober began the project soon after the Al Qaeda attacks and completed it soon before the last presidential election)-how to be sensitive, at once, to its human tragedy, political exploitation, and cultural sentiment.Д®ntering the gallery, we saw a knotty plank of faux wood in unpainted plaster leaning against a wall, an item somewhere between refuse and relic. With his recent project at Matthew Marks Gallery, his first New York show in more than a decade, it was the aftermath of 9/11 that we revisited as if in a waking dream.

ROBERT GOBER ONCE DESCRIBED his installations as вЂњnatural history dioramas about contemporary human beings,вЂќ and, like many dioramas, they mix the real with the illusionistic in ways that both fascinate and disorient us.