Viewed from its entrance, the main space housing Seulgi Lee’s exhibition “Slow Water” appeared to be almost entirely empty. The only visible object was a disk made of a thin lattice of raw wood about thirty-six feet in diameter, hanging by wires from the high ceiling. It looked like a utilitarian object that had perhaps served as a canopy for an earlier installation. Lights threw shadowy grids onto the white walls and bare floor. As you moved under it, though, sides of the wood that had not initially been visible came into view, and these were painted in alluring colors, such as pale rose, mint,