The elusive artist Cady Noland has made a shock return: will it impact her reputation?

"Noland's career has deviated from every familiar template for art industry success. Between her 1988 solo show at the New York space White Columns and the turn of the century, she rocketed to fame for works themed around the violent, outlaw side of America. They incorporated symbols ranging from Budweiser beer cans, American flags and construction scaffolding to repurposed tabloid imagery of Lee Harvey Oswald, the Manson Family and Richard Nixon, often presented in powerful juxtapositions."

"She re-entered the fray in 2012 by disavowing a 1990 silkscreen on aluminium over condition issues, leading to its removal from a Sotheby's auction. This led to the first of what became multiple lawsuits by collectors over which of her already sold pieces could be shown with her attribution. She also became infamous, if not vilified, for sending disclaimers to be posted beside works whose installation she had not expressly approved."

Cady Noland emerged in late 1980s New York with work focused on America's violent, outlaw side, using Budweiser beer cans, American flags, construction scaffolding and repurposed tabloid images of Lee Harvey Oswald, the Manson Family and Richard Nixon in powerful juxtapositions. She disengaged from art stardom during the 1990s and largely withdrew for over a decade, avoiding solo shows, gallery representation and interviews. In 2012 she disavowed a 1990 silkscreen over condition concerns, prompting removal from a Sotheby's auction and initiating collectors' lawsuits over attribution. She sent disclaimers for unapproved installations and returned with survey and commercial shows, culminating in a major recent exhibition at Gagosian.

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