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Precious, Anderson's not packaged with the usual given art gloss but fragile and at stake, with the possibility of loss that is inherent to the precious, a loss that so many wish to defeat with packaging to eternalize; and many forms of. E.g. FGTorres giving the metaphorical finger to loss with sheer determination to print it free of its preciousness; Agematsu's cellophane; the whole subgenre of contemporary reliquary art; Anderson's loss instead something the objects flatly accept, their defeat, preciousness without preservative, making it sentimental. Romance is usually intended to be forced upon the viewer by artist's gilding and gloss, but these - like the wire traps before - force instead a stewardship, a carefulness, so terribly awkward, the way bad feng shui consistently reminds you of your body.
see too: Sam Anderson at Off Vendome, James Lee Byars at VeneKlasen/Michael Werner