The themes that Haegue Yang investigates in her recent workthe sixth sense, grafts between the natural and technological realmsare always seen as in process. In the end she leaves her own thoughts regarding them unresolved, as signaled by her recurrent use of the adverb quasi in titles of works and shows over the past decade or so: Quasi-MB, 2006–2007, and “QuasiPagan Minimal” and “Quasi- Pagan Modern” (both 2016). This prefix indicates the incomplete attainment of a condition, a property, or an identity, suggesting that the status of the work is suspended and calling attention to a lack, a structural imperfection. Distributed through the gallery space in “Quasi- ESP,” her recent show, works from three series entered into a dialogue, opening up to unexpected associations, for example in variations of the color yellow: faded in the case of straw, amber in the
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