Joe Grigely, Amy Vogel Online Viewing Room

With Lily van der Stokker, Leonor Antunes, Dorothy Iannone, Ben Kinmont, Eliza Douglas, Rob Pruitt, Claire Fontaine, Ingrid Luche, Pierre Joseph, Sarah Pucci, Jef Geys, Torbjørn Rødland and Brice Dellsperger

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In the context of pandemic-related lockdowns and quarantines, many of us are experiencing, with acute awareness, the immediacy of our domestic environments: our bookshelves and kitchens, the stuff on our desks, the images on our phones and computers.

We call this 'The Castle Effect.'

James Castle was a deaf artist from rural Idaho who for decades drew and painted his vision of the things in his room and his house. His is a world of objects, people, and places that penetrate our consciousness through their understatement. He presents us with fragile moments of human existence, a narrative compendium of daily life magnified and multiplied by decades of nuanced observations of life indoors. This is the pandemic aesthetic. As the work of Castle suggests, it's not especially new, it's been around a long time, not as a choice, but as a necessary part of daily existence.

We're not just looking at our interiors; we're looking at how objects and bodies touch things beside them, fold into them, develop a dialogue, and how these connections, at once so subtle, also hold things--and us--together. If it is about our state of life at the moment, it is also about our state of mind.

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The exhibition is presented as a set of pairings, beginning with domestic space: 'support' structures (Lily van der Stokker and Leonor Antunes) and moves to the kitchen (Dorothy Iannone and Ben Kinmont) then moves to the sense of self (Eliza Douglas and Rob Pruitt), then to complicating social spaces (Claire Fontaine and Ingrid Luche), and to the desire for being other (Pierre Joseph and Sarah Pucci)-then to a certain state of mind (Jef Geys and Torbjørn Rødland); the show closes with Brice Dellsperger's film "Body Double 30". It's a show that has no clear resolution-and where our relationships with others, as well as our selves, are troubled with uncertainty.