“DECODING FEAR,” a compelling exhibition of James Benning’s work at the Kunsthaus Graz this past spring, was but the latest incarnation of the artist’s Two Cabins Project, an endeavor best understood as a group of interrelated works, shows, and a publication. Installed in Graz in its most expansive form since its 2011 inception, the project established a psychologically charged ambience in which viewers became implicated as they moved through the dark, cavernous gallery. Read literally, the show’s title might refer to Benning’s unpacking of the coded script that Theodore Kaczynski, aka the