What's so funny? is a video loop consisting entirely of clips of women laughing ecstatically.


What happens when women are given the opportunity to engage with laughter in this potentially radical way, not as subject or object but rather something else entirely, something more like a connoisseur - a knower?


I do not yet know what will come out of this knowing, but perhaps it is the potential of finding that space between laughing with and laughing at.



digital video

5:13 min




Allison Halter is a conceptual artist. Her practice exists on cusps, with repetitive actions hinting at mysterious prior events. The viewer must extrapolate the significance of these accumulating gestures, which take on a deeper emotional charge as they slowly and inexorably pile up. Halter received her Master of Fine Arts in Visual Studies from the Pacific Northwest College of Art in Portland, Oregon. Her work has been exhibited in North America, Central America, and Europe. She lives and works in Brooklyn, NY.



To see more of Allison's videos go to











Working with the strategies of sculpture and photography, Dunlap constructs images using digital modeling software. These arrangements are lit, photographed, and manipulated as if real, incorporating a lexicon of bodily and geometric forms. The resulting images depict moments of encounter between objects, often using misrecognition of form as a means of seduction. These effects are produced in an attempt to build believability in the visual universe and to further blur the distinction between object and body.


Corey Dunlap (b. 1990) received his BFA from the School of the Museum of Fine Arts in 2013 and is currently an MFA candidate at the University of California, San Diego. Recent solo exhibitions of his work have taken place at Helmuth Projects, San Diego (2017), How's Howard?, Boston (2016), In The Pines Gallery, Jackson, WY (2015) and Howard Art Project, Boston (2014). He has participated in shows at the San Diego Art Institute, The Chazen Museum of Art, Embassy Galley, and The New Art Center. Corey is a recipient of the 2016 SMFA Traveling Fellowship, which allowed him to travel to Reykjavik, Iceland to attend the SIM International Artist Residency.


More on Corey's work can be found at








FEBRUARY 10 - 23



In the single-channel video, legerdemain, Duncan uses the visual structure of the stripe pattern as a process to merge the physical body with the electronic image. Using strategies of dazzle camouflage, the prison stripe and the UPC code, the performer attempts to become part of the interval, neither foreground nor background like the stripe's own visual structure. The video begins with the flicker of black and white-image and sound are internally generated from the same source-a bank of analog oscillators. Video processing techniques, such as luma-keying (a technique in which you can replace the light or dark areas of an image with another video) allow the striped pattern to be both part of the performer's body and their environment at the same time.

legerdemain was produced during a residency at the Experimental Television Center (Owego, NY) and uses real-time image processing tools such as the Jones +/-5v system, Jones Keyer, Jones Sequencer and the Paik/Abe Wobulator.


digital video

9 min




Monica Duncan received an MFA in Visual Art from UCSD in 2010 and an MA in Choreography and Performance from Justus-Liebig- Universität Gießen, Germany in 2017. She currently lives and works in New York.



More on Monica's work can be found at