Carsten Nicolai’s unidisplay, 2012, is a monumental visual and sound landscape that extends horizontally for about 160 feet, infinitely multiplied by mirrored walls at both ends. Twenty-four visual modules follow sequentially on a screen, where the combinatory possibilities of lines and black-and-white two-dimensional geometric shapes produce changing visual stimuli. The sounds, both sampled and created, that accompany the sequences are mutable vibrations that reach the ear while on the screen they are translated into optical pulsations. The minimalist graphic clarity of Nicolai’s typical imagery,

A bare, rough stone floor modulated into a shiny, anonymous, reflective surface: The first floor of the Federico Luger gallery in Milan appeared in this new state thanks to an intervention by Mattia Bosco (all works Untitled, 2012). Over almost the entire accessible floor surface, the young Milanese artist had deposited seventy-two tiles of a type of gray granite known as beola bianca; the project initially called for eighty-eight tiles, but the artist adapted his plan to the dimensions of the gallery. Each module measures about twenty square inches, while their thickness varies from less than