NEW YORK — In mid-November 2011, Sean Paul opened Every Hair of the Bear, his first solo show in New York since 2006 – a joint effort between Thea and Ethan and Front Desk Apparatus.

A still life assembled from domestic products (cup, bowl, saucer, and plate) is marked with black squares of tape, and pictured from six perpendicular angles (front, back, left, right, top, bottom). The black squares function as tokens, which allow the spatial geometry of the still life to be discerned. This is done in first angle Mongean space (standard fare for the industrial engineer). An ideational six-sided planar box is then constructed around the set, from which perpendicular linear projectors are extended, forming a trace upon each of the six receiving planes of the box. This box of traces is opened and then refolded in a systematized way so that multiple views may fold together simultaneously. A system for folding the tokens of the four objects is developed, in multiples of two/four. Objects become views; four items presented in distinct cases as one, two, four, or six views are folded into a single plane. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene. At which point one could pose the Herzogian question (while considering the entirety of the phone book), “Yes, but do they dream?”