Truth or

Truth or contemplates the shifting terrain of perception and how artists today articulate the hidden and emergent qualities of reality as a dynamic field that can be observed, constructed, quantified, felt, and expanded.

In a cultural moment often described as “post-truth,” the real feels increasingly fluid and fragile. Yet within this instability lies a deeper potential – not a collapse of meaning and understanding, but its pluralization. This echoes the opportunities raised by media theorists such as Marshall McLuhan and Vilém Flusser, who anticipated a shift from centralized, linear understanding to a networked condition of interpretation. The rigid systems that once promised to organize knowledge for humanity have given way to vast and inspiring terrains of subjectivity, distortion, and unresolved signal are part of the fabric of reality that artists reimagine using methods finally capable of portraying believable complexity.

This territory outside the known is infinite, but this infinitude is not a void – it is an essential space of opportunity. “The purpose of life is to seek greatness through the grasp of the infinite,” wrote Alfred North Whitehead, offering a framework that resonates with these artists’ investigations beyond certainty and containment. The artworks in Truth or emerge from explorations in that space with fragments rendered into image, form, and experience. Once again, it is artists who pioneer new ways of engaging the immaterial, the unmeasurable, and the not-yet-known.

In this exhibition, Linda Dounia and Kevin Esherick synthesize representation into minimal portrayals of complex subjects, drawing on the restraint of early conceptualists like Agnes Martin and On Kawara, yet inflected with the statistical logic and encoded systems of a computational era. Shamus Clisset, Katie Morris, and Kevin Abosch construct the world anew – remolding inherited systems and cultural references into something startlingly contemporary.

Works by Jason Salavon, Gretchen Andrew, Luke Shannon, and Michael Mandiberg uncover what would otherwise be disregarded, transforming ubiquitous systems and data objectivity into new visual allegories. Their work extends the logic of artists like Hans Haacke and Jenny Holzer, who each engage institutional systems, media frameworks, and computational structures to push past critique alone and generate new poetics from within. Artists Roope Rainisto and Edward Burtynsky x Alkan Avcioglu imbue their work with emotional and atmospheric depth, using technological systems to express what escapes the eye and haunts our world.

What binds the artists in this show is not the medium or their use of technology, but their motive: creating new visual constructs for reinterpreting perception and revealing the truth of unseen reality. This is a truth mediated not only by machine vision and synthetic logic, but by the fluid feedback loops between creator, system, and audience that are uniquely made possible by today’s generative technologies. Using these generative systems, algorithmic structures, and artificial intelligence, the work seeks to illuminate the gaps of reality and reveal the subtle vibrations in the seams of what we think we know.

Through their use of systematic variability, the artists in Truth or make space for both structure and serendipity, intention and discovery. Their work embodies a constellation of possibilities rather than a single definition – some deliberately shaped, others uncovered in the act of making. What emerges is a new coherence for multifaceted truth, one that embraces complexity and contradiction without demanding resolution.

To engage with these pieces is to linger at the edge of the known, where the velocity of discovery accelerates its own unfolding. In place of fixed realities and binary dichotomies, Truth or proposes a condition of equivalence: truth or… truth. It is the simplest expression of the infinite: a statement that contains itself, looping endlessly in pursuit of meaning.