Not surprisingly, the most captivating moments in the exhibition are those that unite thematic framing with formal kinship.
“Flim-Flam” refers to a con. And while the show could be a very oblique reference to the culture of conspiracy that has exploded over the past year, it seems more likely to be an inessential bit of wordplay.
“Imagined Spaces” is moving because it reminds us of the interior spaces that sequestered us during the pandemic. Or how we discovered the outdoors.
Each object in “Papi” stands as evidence that the digital and physical landscapes we currently occupy are filled with ghosts.
In “We forgot the moon while holding up the sun,” we witness a return to the self, a more personal reckoning of sorts, that has come to the artist at a time where public spaces are devoid of publics and the private has returned to being sanctuary.
“Joseph E. Yoakum: What I Saw,” begins with a line: a timeline of Yoakum’s life.
What Tai has studied for himself are the canonical landscapes of the Song Dynasty. He has researched and mastered their techniques and materials and occasionally even copied them.
In “The Pieces,” Fake allows us to see everything at once. It is the ebb and flow of every single piece coming into focus.
The lure of Tromarama’s work lies in its ability to endow banal things with a spectrum of personalities: amiable, impish, quirky and unapologetic.
July brings the opportunity for gallery and museum visits again.