The hanging metal heart sang when it was moved. The effect was interesting.

Result #1

The metal was framed by a band of blackened wooden beams that were decorated with gold leaf. The gold leaf looked like a distant memory of a face. A gold-leaf border appeared to pull the metal down. A few wooden fragments were a bit too brittle for the metal to hold them, but they held out a bit. I imagine the metal was going to break. The heart was perched in a metal table, the beams framed by a metal-plated table; the gold leaf was in the air. It was a beautiful piece of sculpture, a monument to this marvelous little creature.

Result #2

The hanging metal heart sang when it was moved. The effect was interesting. The whole installation seemed to have been drawn from some special, obscure religious text. It was, perhaps, a sign of the coming of the age of the Spirit, the age of reason and rationality.But where was the spirit? The spirit of reason? What is it? What is reason? The concept of reason is dead. It has disappeared into the past. The concept of reason is dead. It has vanished into the past. That is why reason as a concept is dead. It has no power at all. It is the dead equivalent of the concept of a religion. And so on. I am not saying that religion does not have power, but that religion does not have a power. Religion is an exact science; it is a social construct. Religion is a social order. Religion is an exact science. Religion is a social order. Religion is a social order. Religion is an exact science. Religion is a social order. Religion is a social order. The idea of the society is dead. It is a dead, almost dead concept. It has been absorbed by the past and is therefore without power.The exhibition was divided into two parts. One part was a group of paintings, each entitled Signatures. Here was a group of images, each of which was called a signature. There was a time capsule, a work of art, a piece of furniture, a piece of literature. In the second part, a room was arranged like a tomb. Here was a room of signs, each of which was called a signature. A big, red, black, white, rectangular sign-mark was placed on the wall. The word sign was written on the wall and on a sign-tagged wooden board. One of the signs was written in red and on a sign-tagged wooden board. And so on. The meaning of the sign was the same as the meaning of the signature, which is a statement of the power of language.

Result #3

The hanging metal heart sang when it was moved. The effect was interesting. Two small black-and-white photographs, both titled The Time of the Heart, 2013, were also present. In one, a nude male appears to be swimming. In the other, a woman looks down from a distance as she breathes deeply and slowly rises from the bottom of the water. Both images were framed by a black-and-white photograph of a male nude, his face hidden, his back to the viewer, his gaze resting on the camera. The photos form a kind of anthropomorphism, a kind of inversion, a reversal. The nudity, like the swimming, is abstracted, almost cartoonlike. Yet the man in the latter is even more human than the one in the former, and the woman is clearly more than human than either one of them. The strange, distorted, and confusing images suggest the power of the heart, which in turn is a physical body—a body that has been completely transformed into something other than what it originally was: a body with a life of its own. The two photographs in the exhibition, which were also titled The Time of the Heart, were framed by an image of the same subject from the same series, The Heart of Glass, 2011. The first is a framed photograph of a woman lying on her side, her head on her shoulders, her legs spread wide and her arms extended. The second is a shot of a hand holding a glass bottle in one hand and a lighter in the other. The glass bottle has been broken and its contents spilled on the floor, while the lighter is still burning. The camera is taken from an old film, shot in black and white, that is not always visible. The hand holds the glass bottle, while the lighter burns the glass bottle. The viewer, of course, is in no way involved in this story. There is no dialogue. It is all silent.

Result #4

The hanging metal heart sang when it was moved. The effect was interesting. The heart seemed to be in the middle of a circle, as if it were a boat floating in a pool. It seemed to be trying to drift toward the viewer, but it was too slow to move. The plastic-covered heart seemed to be frozen in time. These three works from the show were like a meditation on the painting world. They were very different in feeling, but all were about time, the same way. They were of a piece with the time that we live in. The painting world lives only in memory. The time that we live in exists in the present. The present is what we make of. What we make of is time, the painting world lives in the present. The present is what we know. What we know is what we see. The present is what we can see. The present is what we can make of.In the second group of works, another figure was painted in oil on wood. The figure, a black figure with a white light shining in his eyes, appeared to be walking, and the light in his eyes was called visibilia. The light in his eyes seemed to be a reflection of the light of the wood. The white light in his eyes reflected the light of his head, and the reflected light in his eyes appeared to be part of a dark, shadowy, or lonely space. The figures face and body were painted white, and his skin was black. The lines of his hair were painted black. The light reflected from the head, and the dark reflected from his eyes, and the painted white light and black skin reflected from the figures body. The body of the black figure was painted black and white, and the white light reflected from his eyes. The white light reflected from his head, and the black light reflected from his body. The white light reflected from his head, and the black light reflected from his body. The white light reflected from his head, and the black light reflected from his body.