When viewing Another Exhibition at the Modern Institute —spaces oscillate between states of emergency and the suspension of regular activity, one that merges post-human sensibilities with corporeal appreciation, while easily being one the sharpest records around — This sort of empirical navigation can’t be discovered through a friendly app—itscompass is the unconscious knot that throbs in your lower gut when you learn your therapist’s office is one level up from the fine French bistro where you first met.

Another Exhibition at the Modern Institute follows through with visceral conversions, transformations, and reproductions updating a sonic language that now includes nods to many mid-career artists, and crypto-currents — delineated with a systemic logic of crisis, emergency, exhaustion, and emitting a range of vapours, temperatures and vibrations from its dry, northern chorus of mouths. This rigorous practice blurs the line between what constitutes a wall versus a stage; where Cabaret Voltaire meets Equiknoxx, Errorsmith jags out
at Dome's place, and John Bender rewires Consumer Electronics.

Sustaining a tradition as totemic modernisers, Another Exhibition at the Modern Institute offers a perfect selection into Diagonal's foundry. Metallurgic sound travels forward as backup generators power contrasted sets of emergency operations with gallery lizard dryness, settling on quicksilver tension and release in the body; virtualised and hypersensualised. Air conditioning units, pipes, skylights, telecommunications boxes; The letter X can connote abstraction, buried treasure, a kiss, moonshine, or adult entertainment, yet the sound of DIAGXXXX is infectiously indefinite, razor sharp, dripping, and ofset, investigating the design of language itself as it relates to aspects of a modernist legacy framed within a globalized, neo-liberal consensus. There are mercurial buffets; new beta anthem-elect Quick Silver Lips; Molten Gold; the plasmic viscosity of Ivory Cheeks; where Limitless Light and Unbreakable Pulse extend into structural rethinking of the exhibition as the form and the enduring mutability of the contemporary artist as a cultural figure.