Itamar Jobani’s recent body of sculptural work synthesizes human forms with found and mass-produced objects. In People of the 21st Century, he exhibits a social order laden with contradictions, hazards and ambiguities. This exists, most of all, because he intervenes in both the twentieth and twenty-first centuries. By inhabiting various timelines—one contemporaneous, the other historical—Jobani revels in the aesthetic possibilities of historicity.