“Who’s the Daddy” felt like a peep show of the infantile perversions of a Hong Kongese otaku, one of those techno-isolationists who’ve replaced real life with virtual fantasy. It opened with two vacuum bagsone filled with Froot Loops, the other with candyeach encasing a 3-D-printed fetus. Titled Indulgence 2016 and Indulgence 1999, respectively (all works 2017), they hung by the gallery’s entrance, near Unfilial Hell, a large LED panel positioned in a corner like a grand stele, its colored lights depicting a phallic mountain complete with an occasional lightning streak, in front of which a doll wearing mini virtual-reality goggles hung from a swing. Beyond this was M, a circular Murakami–esque 3-D-printed sculpture of a pink thong hanging from a woman’s blue legs rendered from the calves down, a stiletto heel pressing into the eye of a man whose torso rests on a fluffy
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