British artist Allen Jones revisited his notorious fetishist sculptures of 1969 – Hatstand, Table and Chair – in 2002 when he created Refrigerator, an extension of those earlier female effigies which had caused such concerted outrage when first exhibited in the artist’s 1970 solo show at Arthur Tooth & Sons Gallery, London. Those provocative cast fiberglass and leather-clad furniture sculptures still resonate today and reflect upon the current proliferation of salacious material available in myriad formats through popular media. Although heir to those first works, Refrigerator is further informed by the unparalleled technological changes of the intervening years. Comprising a hyperrealist woman and a functioning refrigerator, Jones’s later sculpture harbors tension in the arrested movement of the figure and through a sly reversal: the refrigerator’s consumption of her own body, a conceptual sleight-of-hand worthy of noir prophet William Gibson’s cyberpunk dystopias in which the novelist imagines a near-future reordered by technology, social control and connectivity. The severe silhouette of Refrigerator resulted from a collaboration between Allen Jones and innovative fashion designers Patrick Whitaker and Keir Malem whose twenty five-year career, known for its fantasy-driven, body-conscious aesthetic, has included stints for Alexander McQueen, Giles Deacon, and Hussein Chalayan, among others.