Elsewhere, on the far wall, near the back entrance of the gallery, is Andrew Effendy’s The Devil’s Rope/Type, a series of wires pulled across two wooden posts. They are treated to look like barbed wire, except at the spiny, barbed sections where the wires form letters of the alphabet, A through Z. As a whole, the piece seems like a sinister fence of letters, its menacing script casting peculiar shadows on the walls. The allusion of language as a barricade is unavoidable. Effendy’s piece makes you mull over the role of language and how—especially, in today’s world of information overload—language has the power to encourage progress as well as impede it.