To be honest, I’ve always found Chris Finley’s work hit-or-miss at best. His early- to mid-’90s bricolages of chopped and tailored Tupperware containers, pencils, and other dime-store miscellany seemed to succeed mostly when they failed to deliver on their attempts to stand in for information-storage systems, instead simply offering curious three-dimensional compositions. And his mid- to late-’90s installations and paintings based on video games, while displaying technical facility and ambition, often managed to be no more entertaining or compelling than their source material.

Early in 2000,