I stand on the lower floor of the Rose Art Museum. The linoleum floors click with each step as I inspect canvasses, taking in the subtle splashing sound from the rectangular fountain. Steve Miller's silk-screened works set the mood as I circle the central staircase. Swinging around, I am immediately captured by what I see through the glass double doors of the Lois Foster Wing: a refrigerator, a drill press, a radio--all objects are quickly recognizable. But, I wonder, what are these seemingly unrelated and insignificant items doing in an art museum? In addition to the Steve Miller exhibition, "Spiraling Inward," a second show, "Tom Sachs: Logjam," simultaneously captivates and stuns guests in the two-story Foster wing located at the rear of the museum. "Logjam" lures in visitors first by tickling their curiosity, then by rewarding them with brilliance.

"Logjam" combines objects of work and play-all of which reflect Sachs' near obsession with American consumerist culture. Born in 1966 in New York, Sachs arrived on the art scene in 1994 with his window display, "Hello Kitty Nativity Scene." This display was quickly taken down after protests from Roman Catholic groups. The piece featured Bart Simpson figurines as the three kings, pop singer Madonna as other Mary, wearing leather; and the Kitty as the baby Jesus. Clearly, Sachs isn't afraid of making waves.

Needless to say, this mentality runs throughout the "Logjam" exhibition-a show full of personal items, consumerist references and touchy subjects. The show was first organized by the Des Moines Art Center and takes its name from a box Sachs keeps in his studio for failed parts when working on projects. When first walking into the space, the work that immediately grabbed my attention was "Vader," a giant, black, working refrigerator. The name alludes to the famous Star Wars character, Darth Vader, since the refrigerator is large, black, and also makes its own unnatural noise. Vader exists as a commentary on the history of the refrigerator and, specifically, that famous refrigerator "hum."

As explained by former Rose Curator Raphaela Platow in the exhibition catalogue for "Logjam," when the machine was first being developed, there were two competing models. One was electric and embraced by larger manufacturers such as General Electric and the other, lesser known model, was powered by gas. While the gas model was silent and probably the preferred choice for consumers, the electric model was chosen by the large companies as the model to produce. The refrigerator "hum" is still part of our lives today. Sachs created "Vader" to comment on the lack of choice Americans have in the consumerist culture because everything is decided for us.

However, these notions are rejected in "Vader's" construction. The work is made of plywood, painted black and features a fabricated "Subzero" logo on the top right of the front of the refrigerator, contradicting our society's conception of a "Subzero" refrigerator that promises sleek lines and smooth, cool stainless steel construction. Additionally, the back of "Vader" contains a Plexiglas panel from which we can see how the machine operates-a faux pas in today's design market which looks to minimalism in appliance aesthetics.

Across from "Vader" is Sachs' own workspace, "Million Dollar Desk." The original design for the desk came from a desk he saw and coveted but was far outside his price range. Instead, Sachs took the opportunity to construct his own by purchasing a used, gray metal office desk and refurbishing it to suit his needs. He replicated the desk's overhead light by attaching an industrial work lamp over the surface with stolen Con Ed barriers. An adjustable arm swings out from the right and holds books and other materials while working. To give the table added functionality, Sachs inserted a table saw in the center of the workspace.

When looking at "Vader" and "Million Dollar Desk," it becomes apparent that Sachs loves to work and rework, to construct and make better his own objects and those of others. This doesn't just precipitate objects used for work but also stretches to encompass objects for play. Just turning my head to the left of "Vader," I instantly realize the magnitude of Sachs' love for play.

"Nutsy's Tableau" encompasses the entire left side of the gallery and is possibly the most elaborate toy I will ever see. After finding a "Mini-Z" racer, a small remote control car, Sachs and his employees dedicated their time to making a racetrack for their entertainment. What started as a fun idea quickly grew into a constructing frenzy with additional tracks, wings and other intricate components. Currently, the setup for "Nutsy's Tableau" includes an "Altitude Generator" that allows the cars to build momentum before dropping off a ramp through the "Ring of Fire," a Webber grill outfitted with a flaming ring in the center for the vehicles to fly through. Additional components are the "Mobil Station/Repair Shop," the "Boriqua" and the "Wall of Surveillance."

"Mobil Station/Repair Shop" is a foam core representation of one of the gasoline giant's storefronts. It is built off the race track and opens up into a tool cabinet complete with all the fixtures needed to keep the track running. The tool cabinet itself is made of found materials and the plywood on the right- hand side is stamped with a "McDonald's" logo, an allusion to both mass-marketed American cultural icons and the other, undisplayed components of Nutsy's including a foam core "McDonald's" drive-thru. "Boriqua" is more like "Million Dollar Desk" in that its function is more utilitarian. The refrigerator with a tunnel through it was added when Sachs and his employees realized they wanted a place to keep their beers cold while they raced. Incorporating a fridge into the raceway was the obvious solution.

The "Wall of Surveillance" is a more obvious social commentary. A series of 12 televisions are stacked in columns of four and each contains a live feed from strategically positioned cameras around the track. Your vehicle is being watched at all times and the inclusion of a radar gun lets you know that there are always rules, even in play. Adding to the fun is an instructional video set up to teach you how to use the raceway. According to the Rose's "Logjam" pamphlet, "In giving us a compelling portrait of a life where things are individually produced by hand, Sachs could also be seen to be encouraging us to move away from an existence of alienated consumption towards a more socially connected and engaged creative life." One way to do this is by bringing your own "Mini-Z" racer with you to the museum-the track is functional and useable by all guests.

"Tom Sachs: Logjam" like "Steve Miller: Spiraling Inward" will be on view at the Rose through Dec. 16. Sachs' works left me questioning both the definition of art and the relationship between our culture and life as American citizens. Through subtle imagery and in-depth explorations and evaluations of society, Sachs is able to get his ideas across by simply taking objects from his own life, pushing them into the museum setting, and thereby bestowing upon them the title of "art." Reminiscent of Marcel Duchamp (who called a urinal "art"), Sachs' objects are flooded with criticism of the way our society and economy operate.