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Craig Krull Gallery, Santa Monica (March 5-April 9, 2016) For almost 40 years, the art world has repeatedly and predictably equated challenging acts with spectacle and theatricality. Robin Mitchell’s work defies this shallow and repetitive trend; her paintings are unique for a modest scale that barely contains

Power identities and fetish roles outstrip partner selections, manifesting carnal knowledge of the nth degree in Kim Ye’s open source locker room politics. Her performances are corporeal prescriptions: sculptures of desire, paintings of allure, installations and video which are bondage lairs, irresistibly inviting booby traps

Assimilations of constructed pitches waste away into an ad hoc arrangement of undifferentiated fields where wood, metal and any other material in percussionist Ted Byrnes’ striking range, weld, shred, transpose and invert into a microtonal cyclone that could undulate deadening silence. In what could be