Entering the gallery, the visitor is faced by a phrase, repeated and piled. Thérèse Mastroiacovo’s Untitled (John Baldessari, 1972) (2002 – ongoing) presents a pile of Baldessari’s famous declaration, I will not make any more boring art, with the qualifier erased and converted into a lump. Samuel Roy-Bois, with the installation J’ai entendu un bruit, je me suis sauvé / I heard a noise and I ran (2003), proposes a room within a room within the main gallery space. Every surface of the interior room is thoroughly holed, it poignantly punctuates a blurring between inside and outside. The conventional frontal framing of a video projection is subverted in Simone Jones and Lance Winn’s Knock (2006), for the piece invests the room on several surfaces and thereby acquires virtual volume through its actual movement. In Patrick Beaulieu’s Bruissement (2007), a delicate and solitary leaf moves subtly, almost imperceptibly. It exhibits faint signs of life amidst an overwhelming funereal background. The Beginning (2004), the stop-animation film by Helen Tak, further accentuates the nocturnal ambience. The largely depopulated film foregrounds the sonic as a protagonist with its penetrating and pulsating room tones. Concluding the trajectory of the exhibition is an entrapment in the form of a pair of video works by Charlemagne Palestine. Island Song and Island Monologue (both from 1976) stage a performative angst-ridden voyage where the refrain is I gotta get out of here! Confined by island, fog and his own psychological demons, there nevertheless is hope, however faint, that seems to emanate from the journey: I don’t know where to go… I guess I’ll just stand here.