I can never remember if white is supposed to be the color of life or death, but standing inside Marilyn Minter's cavernous bright white studio,
walls close to
bare due to the fact that much of Minter's recent work is on exhibit now at Salon 94 and much of Minter's entire oeuvre is
included in her major career retrospective, which opens today at the Brooklyn Museum, feels not unlike being in a womb.