This dark sense of humor pervades both the exhibition and Sachs’s studio practice. His assistants are encouraged to do a messy job and learn from doing; they are discouraged from going to grad school for art. In the gallery it reveals itself in works like African American Express (2015), a clever work made from a high-limit credit card that is intended, Sachs says, solely for paying strippers and chopping up lines of cocaine. And then there’s what may be Sachs’s most personal piece in the show, a roughly hewn plywood Barbie doll with a mouthful of a title that tells the story of Sachs’s beginnings as an artist: hidden away in the basement, painstakingly recreating the things that he wanted but couldn’t have. Today, the artist has no such restrictions, but he’s still tinkering away, confronting us with our own desires.