For the Cave's February 24 show, fellow artists and thrill seekers made their way through the gallery maze. Sharon Dunn's huge fiber sculptures led you into the corridor, where couches and abstract paintings adorned the area. Susanne Wimmer's prints of body-sized heads were accompanied by a Korean woman in traditional garb playing a stringed instrument called a kayagum. Later, a guitar-violin duo, improvising wildly, joined the sweet, mellow tones of saxophonist Sabir Mateen and the mad drumming of Shige himself and anyone else who wanted to join in. In another studio, action painter Naoki Iwakawa attacked his work of sticks, toilet paper, paint, and dust, like a master chef performing a mad ritual, accompanied by Pere Ubu/DNA bassist Tim Wright's cymbalom (an electrified gypsy instrument), which produced wah-wah, feedback, and koto-like tones. Most satisfyingly, the two played off each other's work, creating an unlikely synergy.
Dazzling as the whole spectacle was, not everything meshed. But that's the price you pay for experimentation. Breaking free from the worn-out models of conventional galleries and spaces, the Cave proves that different arts and media can not only coexist but enhance each other. Jason Gross