Serial scenes of similitude and difference are appended together like beads on a string. The artist stares into the mostly dark, quasi-modernist, light-punctuated abstractions that bracket subway platforms in New York; a children's choir sings Für Elise over a rotating merry go round in which horses are replaced by physicalized versions of kids' drawings; a series of drawings is triggered by a barking dog, alternating between figuration and abstraction, showing a discontinuous subject, blinking in and out of existence, intermittently obliterated and reconstituted by glyphs, trace marks, and asemic writing.