In Lee Lozano's drawings from 1963 and 1964, the artist subjects tools—screwdrivers and bolts, staple guns and hammers—to violent aesthetic scrutiny, fleshing out these objects’ manifest chauvinist sexuality into a wildly disinhibited reinterpretation. ‘Lozano Tools’ provides readers a selection of these early works, where they can see that in Lozano’s hands, screws are no longer a neutral means to hang a painting or set a bookshelf but rather explicit euphemisms of sexist logic: anthropomorphized machines aggressively screwing in and out of each other in acts of over-determined functionality, regardless of pain or pleasure. A text by Sabine Folie connects Lozano’s Tool paintings to her drawings, the latter of which Folie describes as ‘spirals of . . . furious pencil strokes and . . . outrageous transmutations.’