Robert Gober’s hyper-realistic sculpture of a small, detached leg points to the artist’s concerns about bodily vulnerability during the darkest days of the HIV/AIDS pandemic. “I was a gay man living in the epicenter of 20th century America’s worst health epidemic,” he said, as he witnessed sickness and death in his surrounding community of New York City before the development of effective medicines. Cast in yellowish-white beeswax, with real human hairs adhered to the surface, it is unclear if the leg is presented for medical examination or for sexual flirtation. Gober’s commitment to ambiguity is a jarring reminder that existence is absurdly frail.