It has become a commonplace within contemporary art discourse to speak of placing objects in “conversation” with one another. In Gordon Hall’s AND PER SE AND, held at the Temple Contemporary, this phrase is stripped of its curatorial affectation and retooled, amplified.

Like much of Anicka Yi’s work, the artist’s current solo exhibition at the MIT List Visual Arts Center, “6,070,430K of Digital Spit,” manages both physical restraint and sensory overload. A slim disc of light radiates in the center of the dimly lit gallery, whose floors are carpeted a dusty salmon tone and walls painted the color of dried blood.

With a shift of one apostrophe—an almost unmentionably minor mistake—we move from the precipice of the wild to a land of “no iron” slacks.