Ebstein’s wall-bound pieces, presented as painting, are made with hand-cut yoga mats and powder-coated aluminum forms bolted to the image’s picture plane. Gaps between the pieces of mat reveal the painting beneath the collaged surface and emphasize the imperfect presence of the hand.

The exhibition’s main sculptural assemblage, ceramic pieces presented on tile topped tables made by the artist, hold Yoni Eggs. These nest-like display structures investigate the aesthetics of marketing accessory and adornment — superfluous objects associated with the body.

An additional side effect of glaucoma, Ebstein found she could no longer practice yoga. The move to mats as material in her pieces started as a physical act of separation. Acting as a synthetic proxy for the body, the pieces participate in a consideration of the body in design, a simultaneous absence/presence of functionality and the standard assumed proportions it serves. Ultimately Fad Bodies creates an analog to spaces hyper-tuned to the body, like the gym, sauna or dance studio, yet one devoid of utility. They suggest bodies on display even as they are not present.