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Unlike Escher, which these staircases has often been compared, Golden's space, after its initial disorientation, does resolve itself, perhaps its saving grace, quiet, cavernous, amping the qualities inherent to that most peculiar of PS1 spaces, a vastness that Golden doubles but leaves uncluttered of the overstuffed visual mania characterizing previous work. Its one of the most visually silent Golden has made, exactly what saves it from the spectacle that it seemed destined to be by the museum would desire it so. The world beneath the mirror, seeming more ordered than real it reflects, is tinged with a pathos, unreachable and still, sunk under the surface of the water. A perfect stage set waiting for its film, a spectacle besting even recent Hollywood blockbusters, or any image in what could been the surrealist joyride of Inception.
