The objects of interest find themselves buried in a theatrical wasteland. Objects looking interesting, and the show at the Hammer was, but this haunted hayride seems dismissive of their individualist selves. Are the “cultural codes of Romania” really this rural, or archetypal, I mean straw and scythe we get it, but then the connections multiply in the bike seat, making it a flying-witch-biker-from-hell kind of rape scene, and the Hammer’s graveyard becomes the Kunstverein doom-metal party, allusions to Dracula and Death abound. Did you see the cover of the new Pallbearer album, It’s pretty bitchin, and Ursata's more malleable surrealism, referentially slippy, multiplies its interest. A more sacrificial, less catholic Rober Gober, less gemlike, more basement. And That “Ass-to-Mouth” object has got to be the best Brancusi take of a lot of Brancusi takes in the last 5-10 years. I mean who hasn't consider being fully penetrated by a Brancusi.