The black foamcore neck of Periscope, 2016, extended out of the skylight of an otherwise empty room, its mirrors visible thanks to a circular cutaway at the base of the tube, which rested atop a spindly pedestal with thin metal legs and two royal-purple shelves. The pedestal indicated the work was a tool and a sculpture, and neatly summarized the ambivalent status of all of the objects in Alice Könitz’s “Commonwealth,” named for the gallery in which it was situated. Könitz used this loaded term as a springboard to assemble a collection of “social sculptures” that echoed the artist-run gallery’s mission statement: “to learn . . . how generosity and hospitality can sustain our coexistence.” Peeking into Periscope’s viewfinder, one was able to survey the anonymous rooflines of the Koreatown buildings surrounding the second-floor gallery, and to enjoy a glimpse of the neighborhood
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