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They tower over visitors and bring to mind Mo MA’s much-lambasted 1984–1985 show “‘Primitivism’ in 20th Century Art: Affinity of the Tribal in the Modern,” which juxtaposed works of art by Picasso, Brancusi, Giacometti, and others alongside objects from non-Western cultures.

Attacking that show, art historian James Clifford wrote that the museum had failed to adequately convey the complicated histories of these non-Western pieces, merely setting them next to modern works and letting them take on meanings far estranged from what their makers intended. “The relations of power whereby one portion of humanity can select, value, and collect the pure products of others needs to be criticized and transformed,” he wrote, calling — at the very least — for exhibitions that are “radically heterogeneous in their global mix of styles” and in which the “principles of inclusion are openly questionable,” in which “nature remains ‘unnatural.’”Lakra's ICA exhibition approaches Clifford's criteria.

Regardless, I suspect you won't be able to stop looking.) The objects are not so much set aside each other (and made to conform to a single, definitive reading, as in Mo MA's show), as they are radically intermixed and combined into a captivating, pleasurable haze of of sex, death, drugs, and formal iconography.