For more than a decade, Christine Davis’s installations have combined artifacts of the body (contact lenses, a metal dress patterned on genetic encoding sequences), photographs of skies (clouds, solar eclipses), and images of books (English dictionaries, Copernicus’s Cosmology) to consider constructions of the self. Taking shape at the intersection of science, pain, and beauty, her work betrays the influence of Deleuze (on time), Bataille (on Sade), and Kristeva (on love); it’s no surprise to learn that Davis’s early training was in Paris. This might explain why her installations have always