Frontiersman of the Lower East Side art scene and early purveyor of the ultra-hip-cum-quasi-critical art enshrined in this year’s Whitney Biennial — think Seth Price — Reena Spaulings is inevitably associated with the Bernadette Corporation (Reena Spaulings is the name of the latter’s 2005 multi-authored novel) and the gallery that ostensibly ‘represents’ the BC’s artistic enterprise. This kind of identity-mongering is what RS/BC does best, rendering its universe of activities often hyperbolically self-reflexive and smartly inaccessible (all of which equals ‘highly desirable’).