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Hermeticism and alienation permeate the iconoclastic works of Raymon Pettibon, Tony Oursler and Thomas Schütte. Although Pettibon adopts the form of classic cartoon cells, the content of his drawings and their attendant handwritten scrawls read more like internal monologues than narrative captions. Equally verbal, yet far more strident, Oursler's paranoid video sculptures revel in the rift between temporal video projection and static sculptural form. His work is at once mesmerizing and exasperating, daring his viewers to pull the plug. By contrast, Schütte's sculptures, photographs and drawings bear silent witness to the predicament of the individual within the institutional power structures, visible an invisible, that control our existence.