In the late nineteen-seventies, the Swiss artist began making architectural casts with fabric, latex, and mother-of-pearl pigment. She called the otherworldly sculptures, which resemble tapestries of desiccated flesh or iridescent exoskeletons, “skinnings.” Like many of her feminist contemporaries, she was interested in reframing domestic space. But Bucher, who died in 1993, also explored the gendered associations of institutional structures. A video near the show's entrance includes a scene of the artist at work in 1988, visibly straining to peel one of her leathery embossments from the grand nineteenth-century wood-panelled wall of a former psychiatric hospital in Zurich—literally wrestling with the past, to haunting effect. Among the nine stunning pieces in this exhibition, which have yellowed and become more scab-like with age, is a drooping mold of one of that building’s windows, its slightly bowed shutters suggesting the wings of an enormous insect.