New York

Tony Oursler

New Museum

It’s a rare body of work that makes the viewer open a mental can of worms, but the broad selection of works in Tony Oursler’s midcareer, almost quarter-century-spanning survey took me in so many directions and so consistently managed to engage, provoke, irritate, entertain, trouble, and seduce me that I’m not sure where to start or how to tidy it all up in words. Babble, a basic element in Oursler’s production, seems the natural reaction to it.

The exhibition’s title, “Introjection,” is the psychological term for a subconscious process by which images are incorporated into the psyche. What the show delivers, in what can only be a unique experience for each viewer, is a mingling of introjection’s fuel and its fruition. Early objects, single-channel videos, and installations owe debts to middle-school plays, fun-house mirrors, amateur animation, folk art, and the Dalí sequence from Hitchcock’s

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