CURA.

Elsewhere Katz’s exploration of the artist’s ‘signature’ touch is playfully re-evaluated through self-portraits both literal and metaphysical. Shifting combinations of her own name are threaded throughout her work as a slogan (‘All ls On’), an alias (‘AKA’) and a ‘MASK’ (Ms. Allison Sarah Katz); and the sense of touch (and its prohibition) is heightened by her use of applied textures such as sand, rice, and iridescent pigments including copper and crushed steel. For Katz, surface is depth. The posters in the Central Space announce the exhibition and its duration, presenting it in its temporal totality as another kind of object or event. Posters are an important and long- standing part of the artist’s practice. For Katz, to make art is to become an artery. The title of the exhibition refers to the arteries of the body, which circulate through the heart, as well as alluding to roads, rivers, systems of transportation and more tangential networks of communication, meaning, and connection, as well as our inner drives and psyches. The architecture and choreography of the exhibition design itself is an integral part of her work. Staged encounters, bespoke walls, inner rooms and long views: all are central to the experience and meaning that Katz builds across the discrete and varied works in the show.