This past summer Ann Hamilton installed stylus, 2010, a single, institution-spanning, multipart work at the Pulitizer Foundation for the Arts (where it remains on view through January 22). In so doing, she carried on the engagement with the topos of communication—textual, vocal, aural, recorded—that has grounded much of her work. But while stylus has the distinction of being Hamilton’s most interactive project to date, offering viewers multiple points of ingress and opportunities for participation, the resulting exchanges remain profoundly elusive. Interaction is invited, but rewards