The project’s incorporation of armor—a form that is both distinctly iconographic and foreign to the artist’s own hand—marks an aesthetic and conceptual divergence for Icelandic Thorarinsdottir, who in her home country is a celebrated pioneer (the first female sculptor to have two solo shows at the Reykjavik Art Museum, 1982 and 1987) whose androgynous figure installations have since 1976 been mounted in dozens of prominent sites around Reykjavik and beyond.