Douglas Dunn is standing in the corner of a white structure the size of an old-time, low-rent New York City bathroom. It’s mostly corner (two right-angled white walls and a floor). He’s facing into that corner, his feet carefully pigeon-toed to line up with the walls. Brightly lit by Amanda Ringger, he’s wearing all-black; that includes mitts, shoes, and a hood. Time passes. After a while, he lowers himself slowly and lies on the “floor.” Some more time passes. Welcome to the 70s. This solo of Dunn’s, included in his elegant... More >>>