OGDEN, Utah — In my seventh grade English class during a lesson on The Yellow Wallpaper by Charlotte Perkins Gilman, my teacher crept around the room clawing at the walls. She was eerily good at embodying the protagonist of the late-19th century short story, who is imprisoned by her physician husband and haunted by visions of a shadowy woman in the wallpaper.

I spent the rest of the school year enamored with and vaguely scared of my teacher; she was a woman who behaved oddly, a transgressive force in my nascent grappling with queer identity.

Elizabeth Alexander’s “I Cry at Nothing, and Cry Most of the Time” (2021), the first work in Ideal Home at the nonprofit space Ogden Contemporary Arts, draws its title from a line in The Yellow Wallpaper. The reference could’ve seemed glib — the piece is made from wallpaper scraps collaged atop cast-paper replicas of household objects — but the work is as unsettling as the story.

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