A collaborative venture involving three institutions, this is the first major exhibition of James Coleman’s work in Ireland. It follows the successive presentation, over the past three years, of three projected image works in the Great Hall at the Irish Museum of Modern Art. In the new show at IMMA, the video So Different . . . and Yet, 1980, was presented on a large outdoor LED screen similar to those used at sporting events or concerts. Museum visitors tended to move around this structure, often drawing close to the screen to examine the grid of tiny blue, green, and red bulbs that make up

Sherman Sam’s paintings are small—none of the eight exhibited in his most recent exhibition, “Let’s stay together,” reach sixteen inches in either direction—but you can easily get lost in them. They are labyrinths in hyperspace, taking unexpected twists and turns that make it difficult to see one’s way out. Hyperspace is, in its most venerable definition, a space of more than three dimensions, and in this case the fourth dimension is color. This is not to say that Sam, a painter born in Singapore and based in London, is what one would normally call a colorist. In the perennial differend between