The work of Martin Erik Andersen makes material and spatial schemas flip and multiply. His latest solo show, “from the source of a river to its mouth—with usura the line grows thick,” whose title derives from Ezra Pound’s 1937 Canto XLV, drew on morphologies of construction (concrete, steel tubes, silicone) and decoration (plants, shells, homespun fabrics), with light (UV, LED, disco) added to the mix, as well as sound, in the form of a bootleg recording of a live concert by Throbbing Gristle that played intermittently in the gallery. The distorted, spectral tune perfectly articulated the