Bojan Šarčević has made several videos, but never before has he used moving images to shake up the ground beneath his sculptural practice, which, until now, has had the peculiarity of tight, precise construction. Curved crumpled sheets of copper, a bare twig, two-plane angular forms in Plexiglas, two-plane forms in torn sheets of wood veneer, rectilinearly bent brass rods, construction paper, simple angular matboard structures, concrete fragments, and a piece of raw meat—his five arrangements of these small objects for the series “Only After Dark,” 2007, could never plausibly be presented as