An exhibition of works made predominantly with text and punctuated with images, both still and moving.

Matthew Higgs Total Despair displays and negates Vladimir Nabokov’s novel Despair bringing to light a marginal persona’s bitter taste of failure.

Paul Chan’s Sexual Healing/Shift for Harassment font transforms all written formulation into a conflict between sensual abandon and sexual aggression.

Kota Ezawa presents The Simpson Verdict as a cult cartoon. Nate Lowman’s Painting from Observation extracts a popular verdict from a more recent murder trial.

An-My Lê‘s black-and-white photograph presents a Vietnam War as recreational pastime in contemporary North Carolina. An isolated page from THE NAM, Fiona Banner’s they’re really taking a beating is a subjective description of a cinematic re-enactment of the Vietnam War that cannot help making reference to the current war.

Matthew Buckingham’s The Six Grandfathers or Paha Saba in the year 502,002 C.E. tracks the history of the terrain of Mount Rushmore into a projected future when erosion has removed all features of the presidential faces.

In Adam McEwen’s Untitled (legal notice) Louis Vuitton hair scrunches, and Hello Kitty wallets are listed on a par with the controlled substances and Cuban cigars, goods deemed illicit and dangerous seized by US customs. Another list, Dave Muller’s I read the Phone Book…, a rendering of a ripped page of Manhattan residential listings evokes black lists or lists of fallen men.

In many words and some pictures a sense of disgrace emerges countered by Anne Collier’s defiant I Am Not Ashamed.