Though Peter Tyndall’s mission—to render problematic the viewer’s relation to art—is a familiar one, his recent installation, ¡Relax!, 1988–90, suggests that he is up to much more. Tyndall knowingly utilizes the esthetic commandments that have practically become mantras of post-Modernity—to undermine, destabilize, and transgress. Noting the popular complaints about art-world cultishness, he bases his text-dominated paintings around the conceit of a secret society of culture. More recently, he has incorporated dreams into his works as a way of commenting on the consumption and power of culture.