We most often encounter video works in isolation from other media, so Keren Cytter’s exhibition “Ocean,” which brought together three recent videos and a series of colorful, childlike drawings, was not navigable in conventional ways. In fact, the gallery architecture itself was broken up and reorganized by a zigzag wall of varying height, spatially mimicking the unexpected twists and turns in Cytter’s videos. While drawings of sea creatures and similarly clichéd subject mattersuch as maritime tattoos, hearts, eyes, pencils, and crayonslooked fairly familiar, their arrangement in the gallery space was totally bizarre. Despite the seemingly systematic organization of the titles on the checklistUntitled (Atlantic I–III) and Untitled (Pacific I–II) (all drawings 2016)the actual groupings of drawings on view were thematically incoherent and series were broken
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