When Meow Wolf’s claim to fame, House of Eternal Return, hatched in March 2016, the art world was forced to confront the monster that two decades of discourse around socially-engaged art had unwittingly created.

David Lynch has an impeccable ability to generate an attuned viewer. His Weather Reports show that he can do so in less than a minute. Even more than that, they illustrate the extent to which Lynch is a devout practitioner of art.

Eisenman’s contribution asserts that for aesthetic experience, liking and knowing are often indistinguishable, even though the museum, as a bourgeois pedagogical invention, upholds an aura of implicit hierarchy between the two.