For his sixth outing with Anton Kern Gallery in New York, David Shrigley has put aside his most recognizable format (small-scale ink sketches) in favor of large acrylic-on-paper paintings. These are joined by two sculptures of common objects — a telephone and a calculator — enlarged to uncomfortable dimensions. 

The Scottish artist is best known for a prolific body of drawings that are alternately absurd, morbid, death-obsessed, confessional, and scatological. 

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