BLACK MOUNTAIN COLLEGE points perpetually beyond itself. Ironically, as a school, it had no ongoing tradition that it was meant to transmit to succeeding generations, nor did it defer to the authority of historical forebears. It sought to create conditions that would enable students to focus on processes of decision making as the revelation of thinking. At Black Mountain one learned that composition—whether of a sculpture, a sonata, a poem, or even a building—was a series of choices made in response to materials, environment, and what was happening in any given moment. With any piece,

Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian’s project might be described as one of ecstatic accumulation. The Iranian-born, Dubai–based artists (two brothers and their childhood friend) live and work together in a shared home, the trappings of which rival the rococo extremes of Diana Vreeland’s Park Avenue apartment. At the ICA, the artists translated the logic of their living situation—both its aesthetic and its participatory ethos—into an immersive installation. Collages, assemblages, and videos produced collectively (many on-site) and individually evoke, by turns, the