The human body, it is often said, is conspicuously absent in the work of the Norwegian German artist Yngve Holen (b. 1982). Yet everywhere in his oeuvre, the implications of the body—its subjectivity, messy corporeality, and im- brications in a culture of consumption—are evoked. Disemboweled washing machines, bisected water coolers, MRI-scanned and 3D-printed smashed cell phones: Holen has used them all in previous works. His pre- dilection for things that are at one remove from the humans who make, buy, or use them is shaped by an interest in the technol- ogies that define our everyday surroundings, from transportation and plastic surgery to industrial food production and security systems. In VERTICALSEAT, his largest institutional show to date, Holen presents an array of new objects that magnify the corpo- real questioning that sits at the heart of his practice.