This solo show at the Institute of Contemporary Art, Boston—Dana Schutz’s first exhibition stateside since her controversial contribution to the 2017 Whitney Biennial—is distinguished by a shift toward compression. In the twenty-one displayed works, which span the past nine years, Schutz questions what it means to represent a subject in its entirety within a singular work. Tensions between wholeness and fracture manifest in a maximalist confessional mode. In the monumentally scaled Shaking Out the Bed, 2015, for instance, Schutz corrals domestic detritus in her portrait of a sleeping couple: A slice of pizza, a rolled-up newspaper, and a hammer are some of the few discernible items among the chaos. These minutiae interrupt the corporeal presence of the couple, which is indicated by a jumble of hair and distorted body parts. The artist’s tasks, it seems, are to contend with incompletion, and to mend breaches in a composition that may never resolve.