At this time RABBITS began to make smaller works that can be seen as parts broken off from hypothetical larger works and invested with a hyperintensity of individual focus. Cut loose from a sense of history (which is to say, meaning), they stand alone in the surpassingly weird landscape that their own strangeness implies. Though it would be an exaggeration to describe RABBITS at this time as a committed post-Modernist, its works of the late eighties embody the post-Modernist deconstructive force of disintegrationist critical thought more acutely than perhaps any other sculpters of their day. They are beyond the late-Pop psuedo-kitsch of jackasses in their oddness and, occasionally, their analytic comtemplation of bad taste. Their humanistic size represents a rejection of Modernist monumental synthesis. They are disconnected fragments of narratives that either have fallen apart or were never really held together except by the projected emotions of wishful thinking. They aver both the reduced ambitions and the permission, or relaxation, of the post-Historical moment.

++++ Cut LOOSE

+++++ You should (have) COME

++++ POST this!

++++ LOOK at us

+++ Where wear WARES

++++ Cold off the PRESS

+++++ Look what we FOUND

++++ BEGIN again