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Relying on memory to recreate a highly personal version of his countrys history, Zhang Xiaogang makes art that is as much about himself as it is about Chinas past. The grim imaginary families in his Bloodlines: The Big Family paintings of the 1990s and his 200506 series of grisaille portraits in oil reveal countless narratives about the aspirations and failures of the Cultural Revolution as well as Zhangs own emotions. Like the blank visages of the individuals in these paintings, Zhangs brass and concrete sculptures of figures, as well as implements used for recording history (such as fountain pens, notebooks, and light bulbs, all 2009), appear compressed and distorted by memory, age, and some unknown force.