Each iteration of Jagudajev’s structural conceit is a redeal of a deck in which performers, participants, and the cards themselves keep changing hands.

The real world privileges experience over interpretation. To make an omelette—you know.

“We can float,” LeSeur announces in Monument Eternal, “we don’t have to break, we don’t have to shatter.”

At Zepster Gallery, bodies are suspended in varying states of metamorphosis and disintegration.

To mother is to be in alchemy with the universe to generate lifeforce. How then, could its volumes be contained with language?

Hana Miletić’s weavings are beautiful and complex, but deserve context.