Installation of Sarah Lucas: Good Muse at the Legion of Honor

Sarah Lucas: Good Muse

Sarah Lucas has gained notoriety for creating sculptures and installations that showcase the innate crudeness of stereotypical conceptions of gender and sexuality. From the outset, Lucas has used self-portraiture to debunk conservative notions of femininity, adopting stances associated with male behavior that purposefully foster sexual ambiguity. Lucas’s penchant for androgyny has also filtered into her sculpture, with bodies that flaunt both male and female attitudes and attributes and deny any clear association with either. 

In conjunction with Auguste Rodin: The Centenary Installation, the Legion of Honor has invited Lucas to bring a contemporary perspective to our understanding and appreciation of Rodin. Purposefully confrontational in its allusions to sexual acts, both verbal and physical, her work highlights Rodin’s erotic side, albeit confronting his idealizing male gaze with work that takes a demonstrative stance against female objectification and for the empowerment of woman.

In the news

  • It manages to reawaken the dormant erotics of everything around it and without the sense that Lucas wants to burn the entire art establishment to cinders.

    Peter Lawrence Kane of SFWEEKLY,
  • Lucas personally fried and transported dozens of fresh eggs for her installation Good Muse at the Legion of Honor. The fact that visitors will have to make do with replica yolks and whites from Japantown does not take away from the freshness of this exhibition – fresh as in current and brash.



Sarah Lucas speaks about the exhibition, in which her pointed, provocative work is presented in dialogue with the sculptures of Auguste Rodin.

Sarah Lucas: Good Muse


This exhibition is organized by the Fine Arts Museums of San Francisco.

Major support is provided by Nion McEvoy and Leslie Berriman, The Paul L. Wattis Foundation, Sadie Coles HQ, Frances F. Bowes, Kate Harbin Clammer and Adam Clammer, and Gladstone Gallery, New York and Brussels.

Additional support is provided by Robert and Daphne Bransten, Contemporary Fine Arts, Berlin, and the Contemporary Support Council of the Fine Arts Museums.

Currently on view