Literally toying with our understanding of the term “interactivity,” Chris Finley conducts the labyrinthine world of the computer game into the gallery. Since 1997, the artist has been producing a series of related exhibitions of figurative paintings based on his own digitally generated caricatures of suburban life juxtaposed with quirky installations of toys and domestic objects. His goal seems to be to turn the gallery-going experience into a decidedly low-tech yet arguably highbrow version of Nintendo.

The title of each successive show in the series—“Level One,” “Level Two,” etc.—invokes the