Titled in reference to the Large Hadron Collider at CERN (which recently proved the existence of the Higgs Boson, or God particle), Collider is a group exhibition organized by ZieherSmith artist Rachel Owens that considers the idea of the multiverse and the collision between the endless universes that can and do exist within our shared human experience. The five featured artists manipulate the interwoven relationships between seemingly disparate things, allowing their meanings to exist in the same time and space. Extrapolated beyond social and political readings, the artists work within the contemporary collision of various artistic practices; employing media, film, collage, craft and theater in their exploration of the relationship between object and image. The resulting exhibition investigates the breakdown of separation, as the artists utilize those spaces where ideas/objects/universes overlap.

Pinned in Robert Heinecken's UCLA office, an IA Richards quote read: "The greatest difference between the artist or poet and the ordinary person is found… in the range, delicacy, and freedom of the connections he is able to make between different elements of his experience." This idea is embodied in all of Heinecken’s works as he fused images taken from the media to create radical new contexts, altering meanings and perceptions in the process.

Lucy Raven presents a selection of stereo viewers and slides. Each image was taken in Hollywood, or in India—one of the many countries that's benefited from the outsourcing and dismantling of the American film industry. Each slide contains two images, a right and a left eye view, which merge to create a 3-dimensional effect. This series focuses on the shallow sense of depth created in bas and sunken reliefs.

Taking the concept of the show literally and into a domestic sphere, Beth Campbell's newest body of exquisitely executed sculpture merges and penetrates multiple realities. Objects become unstable as they, and their meaning, collapse into each other. It is a physical, analog version of what we experience daily in ever-accessible digital lives; a complete compression of time, space and self. Objects which should epitomize the idea of home become nothing but dislocating.

Exploring the didactic potential of the moving image, Tommy Hartung’s videos analyze the creation and dissemination of cultural narratives through entertainment. Often taking the major themes of modernism as his subject matter, his work has addressed colonial expansion and exploration, evolution, conquest, and innovation. Drawing upon a diverse range of sources, including Anna Karenina, the Gnostic gospels, and the Bible, Hartung experiments with the history of film and sculpture and the conventions of narrative; fragmenting and deconstructing his source material.

In Syncing, Rachel Owens continues her series of works inspired by Augusto Boal, presenting a new video installation using the techniques of the “Theater of the Oppressed.” Actors from her own community's theater group in Red Hook Brooklyn perform together in a movement exercise called Emily's Morph attempting to achieve “unity” without traditional communication (including speech and direct eye contact). The diverse group which is reflective of the larger community move forward together struggling to reach consensus. Projected inside a small room which is sinking into the floor half of its sheetrock is cut away recalling the recent storm that not only ravaged Red Hook, but also the gallery itself. Carved wooden branches jut from the exposed 2x4s as if nature is also attempting to sync with the performers and their environment. A former studio assistant to Robert Heinecken, she will also present a series of collages directly influenced by her mentor whereby images related to the storm are literally woven together.