The Dinner Party, Judy Chicago’s monumental tribute to the cultural achievements of womankind (on view at the Brooklyn Museum), is perhaps the single best-known ceramic artwork of the late 20th century. So it is not entirely surprising that the great Feminist artist has periodically returned to the medium. Clearly, she identifies with it – as the double face vases she made in 2010 suggest. The works allude to the British “Toby Jug” tradition (embodiments of a certain male stereotype of national identity), but also to optical illusions in which vases and faces form one another in silhouette. These present a mental puzzle, as one is able to see only one shape and not the other – an apt metaphor for being divided in one’s own mind.