At Song Song, Jonathan Quinn used bright orange lineament, tautly suspended by a series of weights and hooks and so thin as to be barely perceptible , to delineate the forms of a chair and a couch in a kind of domesticated, and therefore slightly sardonic, quotation of Fred Sandback.

Quinn’s installations are notoriously difficult to document, not only because they are constructed from near-invisible material, but because, as with Sandback, so much of their quality depends on the unmediated perception of them as forms in space.