“Where is this famous word which is said to be so important in present art?” So asks an upside-down figure in a 2007 drawing by Kim Seob Boninsegni. His buddy, in a Rastafarian knitted cap, breezily answers with stoner precision: “Hey we have not arrived man.” Displayed at Galerie Guy Bärtschi in Geneva the same year, this work, Strategy/Cartography, succinctly laid out the Swiss artist’s impish if anxious sensibility. At once rigorous and laconic, Boninsegni’s drawings, photographs, objects, and performances sample high art, popular culture, and myriad forms of DIY, mapping the network of