Since the 1970s, Lynne Cohen has set up her large-format view camera in health spas, classrooms, living rooms, beauty salons, and lobbies; these desolate spaces, devoid of humans, are filled with a disorienting symmetry and artificiality. Informed by the banal, everyday life recorded in catalogue interiors, Cohen documents domestic and institutional spaces in images that champion Marcel Duchamp's idea of the “readymade”. With a background in sculpture, Cohen has routinely been drawn to the idea of the three-dimensional image—she once considered moving entire sections of rooms into museum settings before deciding to work with photography. With this sensibility, Cohen is known to house her images in frames that mimic their interiors to provide a third dimension to her already multifaceted work, which is at once humorous, disquieting, and disorienting.