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Rachel Rossin, After GTA V, 2015, oil on canvas, 60 × 78".

Rachel Rossin

ZieherSmith

Rachel Rossin, After GTA V, 2015, oil on canvas, 60 × 78".

Themes from Lewis Carroll’s Through the Looking Glass loom large throughout William Gibson’s 2003 novel Pattern Recognition, which characterizes an American protagonist’s trip to the UK as a disorienting encounter with a “mirror-world.” But while Carroll framed his chiral universe as the product of minds and dreams, Gibson found alterity in machines and devices. Both these modes seemed alive in “Lossy,” Rachel Rossin’s recent solo show, whose nine paintings and a piece experienced via an Oculus Rift virtual-reality headset—titled I Came and Went as a Ghost Hand, 2015—bore unmistakeable traces of Carroll’s dark yet innocent whimsy as well as Gibson’s tech-saturated neurasthenia.

Exhibiting an Oculus Rift work is a risky business. It’s apt to monopolize the attention of novelty seekers while causing skeptics—those who can’t forgive the burgeoning medium for its rough

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