What of the everyday? When bombast becomes routine, the quotidian is crushed to pieces and caked into something dense and foul. No rest for the weary. No rest, period. Small pleasures (that recipe, that friend, that story) are no longer spiritually fulfilling in quite the same way. Microaggressions, nightmares, and traumas cycle through one’s head: She came up the stairs and he was waiting, with his friend, to attempt to rape her. They laughed because (and we don’t have to assume) it happens every day. 

In four sculptures and ten wall-mounted assemblages on panels, B. Wurtz managed to make an

The mechanics of binocular vision—the method by which a single three-dimensional image emerges from the brain’s synthesis of two perceiving eyes—subtend human perception. In the 1830s, the process was, in effect, operationalized with the invention of the stereoscope, in which technological means were employed to harness biology in the service of illusionism (within the same decade, Louis Daguerre’s camera likewise debuted). “3D: Double Vision” is apparently the first survey of this nearly two-hundred-year history of 3-D objects and their apparatuses to be shown in a North American art

The announcing dispatch promised this exhibition would “unravel,” and the unconventional group show was, indeed, deconstructed into a sequence of solo presentations—unwieldy exhibitions that embraced undoneness. Each iteration treated the exhibition space as a forum for making and showed works neither nascent nor completed by three artists (introduced in the press release as mutual strangers). Their pieces segued into one another conceptually as well as formally, offering distinct and complementary approaches to text, collage, and performance. 

PART ONE: Dylan Mira’s Night Vision (all works