New York

Tatsuo Miyajima

Luhring Augustine | Chelsea

In its descent from science to popular culture, chaos theory has not fared particularly well. Coopted by a rave generation who like their ecstasy served on a bed of fractals, chaos has, for the vast majority, been virtually reduced to this graphic leitmotif. Greeted at first with wide-eyed wonder, fractal images now grab our attention with the force of someone else’s baby pictures. While the fractal-generating crowd aggresively promote their fuzzy paisleys as if they themselves had discovered DNA, the nontechno literati make do by rehearsing half-baked theories usually focused on the incredible “weather-generating” butterfly known to be flapping its way through China. And as material for serious and provocative art, chaos has not, at least since its prefashionable Fluxus incarnation, stood much of a chance.

Fortunately, Tatsuo Miyajima’s chaotically inspired numeration-in-motion unearths

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