Sarah Cain, so there, it’s air, 2012, mixed media. Installation view.

Sarah Cain

Honor Fraser

Sarah Cain, so there, it’s air, 2012, mixed media. Installation view.

The main event of “Freedom Is a Prime Number,” Sarah Cain’s first solo exhibition in Los Angeles, was a room-scale installation titled so there, it’s air (all works 2012). While the piece involved an enveloping spread of paint and canvases (not necessarily conjoined) that spilled onto the floor, a twosome of dollar bills ($ thirty five and $ forty three) flanking the gallery’s entryway offered viewers a key for reading what lay beyond. Cain’s riotous additions of color and shimmering planes covered the cash so totally that only the minutest sections were left bare. These details matter. The still-visible “Eye of Providence” morphs into ocular shapes and a wonky pattern of circles as the famous unfinished pyramid (its thirteen steps corresponding to the original states; its partial architecture anticipating the inclusion of others) lends itself to an array of triangular elements.

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