Past the gallery door, and then past the heavy curtains keeping the gallery’s main room in darkness, a small screen hung in the center of the space; on it, the New York–based Danish artist Joachim Koester’s most recent 16-mm film, I myself am only a receiving apparatus, 2010, was projected. The voluptuous black-and-white imagery is not accompanied by any sound track. We see a man, vaguely hippieish in appearance, whose head is nodding impassively. He enters and exits the frame slowly, fluidly, animated only by this simple and regular movement, with no other apparent intention but to occupy the