b'original works were a stage for collective action. In the final weeks of the project, students were again invited to intervene into the walls and sculptures, allowed to cut into them, break them down, tear them up, and reformulate them into new sculptures. tautline encapsulates Burkheimers interest not in the preciousness of objects that suggests systems of value or the rules of exhibition-making that insist on definitiveness, but rather in critical questions of col-lectivity, duration, and process. He constantly allows his work to be cannibalized and reused in new forms.The exhibition in Los Angeles was an outgrowth of another evolving project Burkheimer created in Portland at the space Private Places, (re)buffer (2018), which led to the works that are included in this exhibition. Burkheimer created two large, torqued wall-based sculp-tures and a freestanding vertical work made from metal, wallboard, and concrete block, Post (2018), and invited Amy Bernstein, a Portland-based artist and writer, to paint in and on the space. These modified pieces then served as the deconstructed setting for the work of Chris Lipomi, a Los Angelesbased artist, and his installation of images, sculptures, and greenery drawn from the cityscape. Finally, Rebecca Gates, a musician, created a sound exploration of the space and its objects in a live noise performance.After that show, the wall-based sculptures, including Hull (2018) found their way back into Burkheimers studio. The surface of Hull was reworked by the artist, but it still bears traces of Bernsteins and Lipomis interventions. It was reconfigured atop a sawhorse as a freestand-ing object and will continue to be exhibited as both a stand-alone and wall-based work in the coming years and beyond, its form remaining an open-ended proposition. The version of Post that was shown at Private Places was destroyed and it has since been refabricateda testament to Burkheimers disavowal of values predicated on the idea of the original. Burkheimers work confronts us with the stability and monumentality of architecture while at the same time containing the possibility of variation, destruction, and reuse. The works are a reminder of the always provisional and iterative nature of things, and of life.24'