New York

Laurie Anderson

Sean Kelly Gallery

Arguably the most spectacular cinematic dream sequence of all time, Salvador Dalí’s contribution to Alfred Hitchcock’s Spellbound (1945) featured a Surrealist stage set par excellence. Replete with a hallucinogenic landscape, it included morphing objects, a faceless man, and—above all—lots and lots of enormous, blinking, staring eyes. Dalí seems to contend that in dreams, despite—or perhaps because of—our eyes being closed, ocularity takes on a heightened, anxious role: We are able to see things normally deemed invisible or impossible. Most disturbingly, we often see ourselves, and thus occupy the roles of actor and audience simultaneously.

The particulars of this strange inner sight (which might be termed dream vision) propelled Laurie Anderson’s recent exhibition “The Waters Reglitterized.” Having spent months touring her solo performance The End of the Moon, Anderson

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