High production values and immersive media strategies are often viewed as incompatible with a truly critical practice in contemporary art. Mike Kelley’s recent show, “Kandors”—which confronted the viewer with an overwhelming assembly of crystalline architectural sculptures, videos shown both as wall projections and on monitors, and light boxes with lenticular image panels—might understandably have provoked such skepticism: The fabrication was obviously costly, and the exhibition was on a scale befitting a museum—although, under the present conditions of market imperialism, one