This Saturday, April 6, 6pm - 9pm, Reisig and Taylor Contemporary is holding a Closing Reception for "Other Days". The group exhibition consists of works by Claudia Rega, Frantz Jean-baptiste, Grant Falardeau, Xiao He, Daniela Soberman, Rudik Ovsepyan, Sinclair Vicisitud. Some bathing, some burning. …. Initially, the exhibition reflects on the Western art historical derivation of expression as a question of transmission between psychic/physical interiors and exteriors (and how an interaction with a surface or an art object records or disintegrates these (assumed) positions of "inners" and "outers”). Ultimately, however, this spatial question became (dis)oriented around problems of differentiating the spatial distinction of inside and outside from the temporal distinction of “before” and “after.” Expression seams itself from this place of indistinction between places and times (and between event and memory). By examining expression as a result of timing—the interval of a relative moment—through time and memory, the works seem to sustain a kind of ambiguity or undecidability that makes a clear determination of "who," "what," or "where" unlikely, and, instead, seem to insist on drifting between states (between ‘whens’). One result seems clear: this superficial and likely illusory dichotomy of expression (inner versus outer) appears to be situated similarly in the traditional conception of the process of knowledge, where latent realities are verified through territorialized (think: maps), calculated, and categorized modes of representation. A hypothesis: the fact that expression came to be registered as an activity of bringing the inside to the outside might be more a residue of history’s systemic attempts at “knowing” what expression is than it is an attribute or definition of expression in itself. (Expression doesn’t seem to require knowledge or knowing but it still acts on some kind of transmission or (ur-)transfer that has more to do with time or a sequence of events that come between. Knowledge is attached to space more than time (even history tends toward a spatialization of time via knowing). Knowledge surveys. Expression tracks. (A little topological note on the loss of a cogent perspective in expressive art forms: The opening and closing of Projective Plane is a distortion of space resulting from a placement in time. The projective plane is actually much more about position in time than perspective in space, with the built-in assumption that someone is always moving towards or away from a point at infinity: a hole, a lack, or an origin.)