This volume assesses a wonderful body of work that encompasses installations, films, artist's books and specimens from the artist's vast archives of ephemera. Like Marcel Broodthaers and Susan Hiller, Bloom has a creative attraction toward taxonomy and museology: the installation "Greed" (1988), for instance, is comprised of a chair, an empty frame and a photograph of a museum gallery with a seated guard. An example of one of her own collections is...