In this exhibition––consisting of a large number of mixed-media and plaster sculptures as well as framed silk-screen prints on plaster overlaid with laser printing––Karl Larsson suggests that every object is always in a state of transformation. Windows in the mirrors and mirrors in the windows, 2017, poetically exemplifies this. Situated at the back of the enormous space, the sculpture is a steel bar set in a white stand made of plaster. A figure plastered on the stand resembles a small black bone. Next to this work is EPI-DINO-XO, 2017, a photocopier on which the artist has placed a printed poem. Despite the fact that the copier is turned off, it metaphorically connects the different objects and materials on view into one large network.

Given the twenty-six pieces’ varied forms and materials, the exhibition can be interpreted as embodying the kind of artistic sensibility Fluxus artist Dick Higgins once introduced as intermedia. Genres and medium specificity fall away in this show, which concludes that an artwork is not a physical thing but an ongoing event enabling formations and sensations.

Form and forces—to borrow the title of a book by Larsson—are essential in this event, with his text directly applied onto the sculpture Reverse=on, 2017. What conceptually underlies this show, though, is the formal structures of a dinosaur. The matter of a fossil might not be less vital or poetic than the cheap wood of a Billy bookshelf from IKEA (Between a want and a need to, 2017), or a 3-D-printed bottle of Vanish in What is the wind in white, 2015. Our perception of the ancient reptile, and what might constitute the residue of our species for the future, is rendered with a banal yet complex humor.

— Sara R. Yazdani