Mixing the documentary mode with lyrical fiction, “The End of the World,” Scott Hocking’s recent show at Susanne Hilberry Gallery, presented Detroit as a surrealist archive: a site of contradictions in which revolutionary energy erupts from abject decay. On display were photographs of the city’s urban ruins as well as sculptural accumulations of objects—primarily books and taxidermied animals—that addressed or were indigenous to the region. A rusting Ford Mercury body anchored the surrounding works. Parked atop a bed of rock salt, the auto stood as an objet trouvé emblematizing the