There is an aesthetic relationship formed between each artist in the show. Portrait paintings hang among digitally printed wallpapers, stretched from floor to ceiling. Of the four artists, Marc Camille Chaimowicz is the only one who is currently alive and still making artwork. His triptych World of Interiors (2008) combines appropriated advertisements along with organic screen-printed elements that abruptly interrupt space and eliminate editorial information. In loving contrast hangs Edouard Vuillard’s Madame Hessel et Lulu à la Baule (1931), an oil on cardboard featuring a sketchy portrait of a gray-haired woman sitting next to an open window. While initially these works may sound like polar opposites, they both express a key concept of “Interiors:” interiors within interiors, or the notion of a depicted interior inside the real interior of the exhibition space. The show is also a reminder of the potential warmth of space itself; the thematic colors used evoke someone’s living room or dining parlor. However, by deliberately juxtaposing flattening space with real space, the best thing a viewer can take away from the exhibition is a flattened memory. Walls that have been designated to hold art define not only an interior, but also a moment that stretches from the past to the present.