This simple, untitled installation—John Scott’s sincere-biker-esthetic memento mori—invited reflection on the transience of life, virility, and fossil fuels. It consisted of 20 skulls-and-crossbones on paper warped to accommodate a light bulb placed behind each image that was, in turn, hooked up to a tape recorder. All the light bulbs flickered, feebly and brightly, in response to the sound of the artist singing Kurt Weill’s “September Song.” This matrix of drawings with lights connected by black cables recalled some of Christian Boltanski’s installations, which used similar means to memorialize