Malcolm Morley's painting relies on the grid and the dynamics generated by his cell-like "gems." Udo Rondinone operates with cells of different nature; he wraps himself up in a cocoon in a trance, a state of suspended animation, impervious to the storms that rage around him. Karen Kilimnik devotes herself to the emotions with which we are inundated by the tabloids and plumbs the veracity of this global spring tide. And the undulating grid in Thomas Bayrle's INSERT confronts us with startling revelations of a hidden order.