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THE T LIST: A weekly roundup of what the editors of T Magazine are noticing and coveting right now.

“ It’s a small world but not if you have to clean it,” it read. Many of us in New York had the MetroCards she designed in 2017, printed with questions that stung a little every time we used it, crossing into Manhattan on the Q train: “Who is healed? Who is housed? Who is silent? Who speaks?” Perhaps you even attended a Rage Against the Machine concert with Kruger’s stage backdrop - it was the 1996 “Evil Empire” tour - or owned one of her T-shirts, like my friend Ben, who, in high school, had the one with a vintage image depicting a housewifely figure holding a magnifying glass, her eye comically enlarged behind the lens. Maybe, decades later, you cut one of her op-ed illustrations from the newspaper - “ You Want It You Buy It You Forget It” - which spoke to your dawning suspicion that you had become just another cog in the capitalist machine. Originally a signifier of cool, its message reverberated for years. “ You are not yourself,” it read, accompanying an image of a woman’s fragmented reflection, the mirror shattered by a bullet or fist. Maybe it was a postcard from a museum gift shop in your dorm room in the late 1980s, pinned to the wall above your stack of cassettes.

PERHAPS WE’VE ALL had it, the Barbara Kruger moment. In an interview, Roberts said that in Kruger’s art, “There’s no room to not understand what she’s talking about.” © Deborah Roberts, courtesy of the artist and Stephen Friedman Gallery, London They also both attended Syracuse University, at different times. Both artists use found imagery in their work - though Roberts generally does not combine her images with text, as she does here in tribute to Kruger’s style. “A Consequence of History,” a 2020 collage-and-text work by Deborah Roberts made exclusively for T and inspired by the art of Barbara Kruger.

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