Katharina Fritsch handcrafts sculptures that replicate everyday objects rooted in both folklore and personal experience. In manipulating the scale and color of these objects and arranging them in unexpected combinations, she destabilizes the familiar, as in Stilleben/1st Still Life (2009–12)—an installation comprising a giant yellow skull, an open pink hand, an enormous black egg, a winged mythological figure, and a life-size Madonna based on a cheap souvenir. Reaching near-industrial perfection, Fristch’s painstaking fabrication process entails sketches, handmade models, plaster castings, bronze, copper, or stainless steel re-castings, and finally a coating of highly saturated matte paint, creating her signature otherworldly effect. Deeply psychological and full of unsettling religious and spiritual associations, Fritsch’s work has been described as an attempt to visualize our greatest …