Directly inside the entrance to the gallery in Mike Kelley’s recent show, one stumbled on The Keep (all works 1998), a trashy, scrap-wood hut issuing hollow “UFO sounds.” Its interior, visible through various slits, chicken wire, and a small spyglass, featured rows of glass containers drenched in colored light.

Kelley is frequently preoccupied with how authority, particularly schools, affects individuals; his earlier piece Educational Complex, 1995, reflected the constrictive influence of his own art teacher. Like that work, the large installation Sublevel, which lent its name to this show, is