New Art Installation So Much More Than Just A Pile of Dead Fetuses

The Hood Museum’s newest art installation, on the surface a run-of-the-mill pile of dead fetuses, has sent the art world into a frenzy surmising its full emotional and intellectual weight. Since its unveiling Tuesday, the piece has ensnared both the hearts and minds its many viewers.

“This is totally a neo-Dadaist commentary on the scotomization of hermeneutical injustice,” said Bryce Stevens ’15, slowly encircling the heap of rotting unborn fetuses. “I get it. And I’m just so humbled.”

The poignant piece took up a 10-square-foot space on the first floor of the Hood Museum, where . Various lights have been scattered around to cast shadows off of the spindly limbs and grotesquely small faces of the fetuses. As viewers paced around the pile of miniscule, blue-gray humanoids, many were moved to weep openly. The pristine silence of the affected audience was ruptured only by the occasional burst of gas from the rotting baby corpses.

“How was I this apathetic about the post-synoecistic underpinnings of gender identity in Afro-Asiatic communities until now?” said a teary-eyed Jessica Roth ’17. “It just really makes you think, you know?”

Caroline McAllister ’14, an art history major, immediately fainted at the sight of the piece.

“It’s my mother,” she said upon awakening.

Praise for the piece fell short of universal, as some failed to grasp the full weight of the artwork. “Look, it’s just your typical everyday pile of dead fetuses,” said Eric Fitzler ‘16. “Like one you could find on the street.”

Nevertheless, the room was abuzz with excitement by the time artist Jak Loone made an appearance.

“I just really like dead fetuses,” said Loone. “Look how gross and shriveled they are!”

Loone then giggled maniacally, readjusted his Cookie Monster hat and proceeded to pee on his work to a standing ovation.

KS ’16