Oursler’s piece represents a type of engagement different from that of more subdued works, like Irwin’s. Its creepy spectacle taps into the human tendency to turn toward the awful or obscene.
This exhibition makes us extra cognizant of our knee-jerk reactions to art, whether we’re dazzled, distracted, startled or amused. One gallery highlights visual engagement, the other, physical interaction, all accompanied by thoughtful, detailed wall text.