The work of each of the artists in this exhibition slides easily between the human and the animal world. In a video by Daniel Herskowitz, the artist eavesdrops upon conversations among primatologists. As they discuss group behaviors of lower primates, the group dynamics of the scientists seem not so distant. In Stefaan Dheedene’s video an African hunter methodically describes his process of trapping and killing animals. Our attention is displaced by his clinical description of his work punctuated by the diminishing screams of a baby antelope as he clubs it to death. Similarly, in a video by David Burns, a farm family considers the interpersonal relations of their chickens and discuss which chicken must die – as the video presents the loser chicken, beheaded and plucked in reverse. In a video by Liselot van der Heijden, the viewer is left alone to commune with the endlessly looping final breath of a dying zebra. Tom Moore also offers a kind of quiet communion. His photographs of primate cages from the Berlin Zoo, also empty of humans (and of animals) document a frighteningly perfect animal habitat that fulfills every need. And Mark Dion's natural history photographs offer the disquietude of our animal curiosity.

The other works in the show slip more precipitously between the human and the animal. Rachel Lowther offers us a sculpture representing the glistening inflated-to-bursting obscene reality that is a rat urinary and genital system after said rat has 'received' excess amounts of testosterone in the form of Perandren. Breyer/P-Orridge’s absurd, fetishistic sculptural object of a wheeled gumball machine filled with used tampons and topped with a wolf’s head suggests the machinistic fetishization of a feminine primal order. Human/animal hybrids are more directly represented in the works of Rita Ackerman and Jason Fox – with his painting of a pathetic creature separated from the viewer by a chain-link barrier and her charming, brutal, doe-like vampires. All pretense falls away with the work of Grace Roselli. In her classically rendered painting, a pregnant woman hunches over skeletal human remains in a post apocalyptic sewage-scape; unable to cope with the human world she becomes subsumed in an idealized nightmare of our animal side taking over. As pathological as it is clinical, it is a nightmare that we all share.