View of “Oa4s,” 2016.

View of “Oa4s,” 2016.



View of “Oa4s,” 2016.

As Joyce Carol Oates would have it, “Our lives are Möbius strips, misery and wonder simultaneously.” Yet in a climate of xenophobia, political tension, and violence throughout the European Union, the Amsterdam- and Mexico City–based Oa4s (On All Fours) used this single-planed surface as the prompt for an exhibition heavy on wonder and free of misery. The duo (Michael Ray-Von and Temra Pavlović) positioned the Möbius strip as a literal and figurative motif by which to frame a collection of poetic (if occasionally precious) meditations on atemporality. The exhibition’s weighty title, “The Fencer and the Beekeeper: A Treatise of the Mechanics of Engagement of Two Discrete Objects in Space and the Miracle of Collaboration Outside Time,” introduced the viewer to its protagonists and theme, while the twenty-three-minute looped video work A Spiral Is a Circle Without Hands or Time (all

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