• Kahn + Selesnick - King of Weeds
• Kahn + Selesnick - High Water Mark
• Kahn + Selesnick - Deluge
• Kahn + Selesnick - March of the Beehives
• Kahn + Selesnick - Rider of the Apocolypse
• Kahn + Selesnick - Ropeman
• Kahn + Selesnick - Reginald Perrin
• Kahn + Selesnick - Bat in Tree
• Kahn + Selesnick - The Age of Wire and String
• Kahn + Selesnick - Eichengeist
• Kahn + Selesnick - Poster 1
• Kahn + Selesnick - Revolte Auf Dem Kopf

This show has one foot in steampunk Victorian carnival barker tropes, but the other in something far stranger and more deeply felt — an attitude toward death and destruction that is serene, and terrifying, and far more terrifying for being so serene. Flowers, blooming. Huck Finn and the swamp thing. Monsters in crude suits of wool and twigs. Wagon wheels and voodoo masks. Everything immaculately posed, either with the clenched stillness of a daguerreotype, or frozen in midair, just so. Next to the technical perfection of the photos, the drawings, posters, and sculptures are too crude, or perhaps not crude enough? But it has been a long time since anything has lead my eye around as effectively as the large photos and panoramas; I start dissecting their triangles and circles, their echoes and loops.

Anecdotally: “fledermaüs!” It’s a great word!

Also on view: belts for angry punk giants, northern renaissance fleshy muppet cysts, the deep irony of manufactured pop, and some old National Geographics.