Neither spectator nor observer, yet somehow both instigator and passive witness, Tate steps against the lines, addressing the viewer yet encouraging them to question everything. Bachelard stands in the distance, a figure receding in the limelight, asking questions to anyone who might happen to wander past. What is work? What are the new plastic energies, and how do they divide and conquer? And to whom do we owe, if anyone, if anything?

With Dialectics of Space, Justin Tyler Tate advances his vision of the post-post-pre realm. This will be his largest solo show to-date -- and first in Helsinki -- and is not just a presentation of Tate's relentless energies but a reconfiguration, tackling the assemblages of loss, waste, and momentum from the sidestepped position.

Taking a form somewhere between installation and immersion, Tate's boundaryless visual geographies dance under the temples of Form, Outline, and Strategy. And with regard to the issue of content, the disjunctive perturbation of the spatial relationships brings within the realm of discourse the distinctive formal juxtapositions.