Home Front comprises new sculptures and photographs which expand on a project that Cape developed for Prospect 1. New Orleans, which related the destruction and rebuilding of New Orleans to the Utility Furniture Scheme.  This project continues Cape’s consideration of carpentry as a site for investigating functionality and the art object; here he invites an aesthetic reading of furniture that was designed to be almost purely utilitarian.  Moreover, he uses this aesthetic space for considering a host of difficult issues relating not just to New Orleans but to a general cycle of American production and consumption, and to the legacy of modernist debates surrounding utility and ornamentation, social idealism and mass consumerism. The Utility Furniture Committee was formed in the UK during World War II after the Blitz damaged millions of homes across Britain, and was charged with drafting and authorizing standard furniture designs to ensure a supply of quality furniture during a time of very scarce resources. On the one hand, the Utility Furniture Scheme was one of the last clear links between furniture design and social idealism, continuing a tradition that ran from William Morris to de Stijl to Bauhaus.  And on the other, it was a chance for designers such as Gordon Russell to break the British public’s taste for ornamental reproduction furniture by introducing a more modern, unadorned style, ultimately provoking a public backlash that led to the initiative’s demise in 1952. Cape's works include sculptures that pair framed photographs of wreckage – a mound of destroyed furniture, a dilapidated trailer under a tarp, a trash dump – with wood furniture constructed according to the original (1943) Utility Furniture designs, including a bed, wardrobe, table and chair. The photographs show not only New Orleans but also scenes from upstate New York and Maine. Each component of furniture has been left unfinished – for instance, the chair is missing its seat, the bed its frame, the table its top – stripping each of any potential function and instead emphasizing the structure of each form.   Cape's project far from being any sort of didactic prescription, is instead a proposition: how can we re-imagine forms and models of production in response both to historical precedent and current disaster?