The work is typical of Cold Bacon’s practice of the past dozen or so years, in that it’s based on sourcing and recontextualization rather than on making (the press release calls it “found conceptual art,” and the label isn’t a bad one). But what initially risks appearing slight or gimmicky ultimately signals, in Cold Bacon’s hands, a reproductive restraint: The longer he persists with the project, the greater its resonance. The closer the work comes to absolute detachment, the more compelling are its residual nuances, and the more affecting it somehow becomes—even, or perhaps especially, when it is saturated with silliness.