![]() Each of these sites can be interpreted as framing the objects they host as: Ludic (the shuffleboard court), lost treasure (the lagoon), and time capsulesque (Dead Horse Bay, a 19th Century landfill, regularly visited by those interested in picking up artifacts washed ashore), respectively. It is no accident that she has endeavored to place her works within the landscape–giving the works allowance to adopt a certain state of itinerancy, unfettering from prevailing systems of value and modes of display. She has displayed work at a shuffleboard court in Florida, underwater in a Hawaiian lagoon, and on the sandy beach at Dead Horse Bay in New York-Each of these presentations took place out of doors and in group contexts. ![]() ![]() Importantly, she has an affinity for unconventional locations. The hanging of Lockshin's work regularly attends to site in unexpected ways, particularly as an alternative to traditional gallery spaces. The installation is comprised of works that have been produced for AITF's interior gallery– a spaceindependently entitled Underground Bureau of Investigations–a small basement room under a house in Tucson, AZ. Bad Dream House, by New York-based artist Larissa Lockshin, presents the viewer with an immersive installation sited and developed for the American Institute of Thoughts and Feelings. ![]()
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