She-Devils On Wheels, Fleury’s first solo exhibition in New York, brings together recent and historical sculptures, an installation, neon works, and videos. The title She-Devils On Wheels refers both to the installation She-Devils on Wheels Headquarters (2000) and to Fleury’s own motoring club of the same name.

She-Devils on Wheels Headquarters (2000) draws on a 1968 film about an all-female motorcycle gang, The Man-Eaters, and Fleury’s own women-only motoring club, founded in the 1990s after she was refused membership to a car-racing club. The installation includes a red mural with blocky lettering spelling “SHE-DEVILS ON WHEELS,” a large-scale neon reading “HOT HEELS,” blown-up magazine covers and club merchandise—badges, caps, stickers and T-shirts. The work establishes sharp parallels between the paraphernalia of femininity and the tools of motorsport culture, offering an ironic critique of gendered rituals and obsessions.

Fleury’s neons transform commercial language—product names like “Égoïste,” advertising mantras like “Faster! Bigger! Better!”—into meditations on consumption. By isolating these familiar slogans, the artist exposes the mechanisms through which aspiration, luxury and identity are shaped and marketed in contemporary society. The choice of neon, a quintessential advertising medium, fuses art with commerce and language with sculpture.

Fleury extends this exploration of constructed allure and material culture in her sculptural works. In her ongoing series, luxury objects, such as shoes, handbags and perfume bottles, are cast in chromed bronze. The snakeskin Prada Boots (2003) bridge Duchamp’s concept of the readymade with Pop and Minimalist aesthetics, their seductive material and details suspending viewers between complicity in and critique of consumer culture. The sculpture Ford Cosworth (2000) converts the eight-cylinder engine designed by Ford and the British manufacturer Cosworth, known for being one of the most successful Formula One engines, into a polished object—part trophy, part relic.

In Hubcaps (1997), twelve wheel covers are arranged and hung in a grid pattern. Adopting strategies from Minimal Art, Fleury satirizes the intellectual hegemony of male-dominated art movements.

The artist’s site-specific mural Flames (1998/2025) spans an entire gallery wall with flickering flames, evoking the signature paint jobs of hot-rod counterculture, where car customization emerged as a symbol of individuality and rebellion. Flames reappear in Formula One Dress (1999), where Fleury transforms a masculine F1 racing uniform with sponsor logos into women’s fashion. The work merges the racetrack, the catwalk, and the gallery, treating speed, spectacle, and display as shared currencies of identity and desire.

In this combination of past and present works and materials, Fleury transforms the gallery into a landscape where neons, flames, sculptures, and automotive motifs evoke cultural systems pushed to their limits, caught between spectacle and critique. By adopting strategies from Minimal Art while infusing them with a distinctly female perspective, her works expose and subvert the intellectual and cultural hierarchies of a male-dominated world. The result is an atmosphere that is simultaneously playful and incisive; in its depths we recognize the intensities of desire, performance, and the constructed frameworks through which culture, aspiration, and identity are staged.