Superficial concerns were at the heart of Zoe Williams’s exhibition “Pel,” whose title is an old French word for skin: The high-definition video, single photograph, and installation that occupied the gallery were a coordinated meditation on bodily surfaces and surface effects. Mauve satin curtains, draped to highlight their lustrous folds, covered the gallery windows; fluorescent light tubes were tinted magenta; cognac had been spilled on the carpet; and the room was frequently spritzed with perfume. A pile of cheap furs and sheepskins invited visitors to plop down in their midst to watch a video playing on a flatscreen propped in one corner. This piece, Pel (all works 2015), lingers over skin and hair, fabrics and furs. The setup is familiar enough: An unclothed white woman reclines on a bed of furs backed by vermilion fabric. The camera languorously explores her lithe figure
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