Tom Friedman delights in experimenting with different models of making and thinking about art, and his paradoxes and mutations oftentimes humorously undermind conventional ideas of art's media, structure, and meaning.

Adorned with plastic handles, electric blue spheres, and chimney-like finials on the lids, this tea and coffee service brings to tea drinking the audacious forms and vibrant colors of postmodernist design of the 1980s.

Adorned with plastic handles, electric blue spheres, and chimney-like finials on the lids, this tea and coffee service brings to tea drinking the audacious forms and vibrant colors of postmodernist design of the 1980s.

Adorned with plastic handles, electric blue spheres, and chimney-like finials on the lids, this tea and coffee service brings to tea drinking the audacious forms and vibrant colors of postmodernist design of the 1980s.

Adorned with plastic handles, electric blue spheres, and chimney-like finials on the lids, this tea and coffee service brings to tea drinking the audacious forms and vibrant colors of postmodernist design of the 1980s.

Adorned with plastic handles, electric blue spheres, and chimney-like finials on the lids, this tea and coffee service brings to tea drinking the audacious forms and vibrant colors of postmodernist design of the 1980s.

Adorned with plastic handles, electric blue spheres, and chimney-like finials on the lids, this tea and coffee service brings to tea drinking the audacious forms and vibrant colors of postmodernist design of the 1980s.

With minimal but intricate forms, Things the wet nurse told me has the tranquility of a Chinese landscape painting. A snowy path interrupts patches of green that resemble a weeping willow.

The body of this sculpture is long and broad like real pigs found in the interior regions of Borneo. Small ears and long tusks distinguish its head, and a flat disc represents a tightly curled tail. Its short stout legs support the body with its rounded belly that scarcely clears the ground.