"The Axiomatic Arcade" concerns itself with abject reality and the undercurrent of the everyday world as seen from many diverse perspectives. This exhibition represents the chance union of disparate dialogues to form a climate suitable for the dwelling of the human condition pertaining to not only its treatment of and coexistence with the planet, but also between the theoretical concepts of Heaven and Hell. The Axiomatic Arcade is also a space where many dynamics collide and paradoxically support the structure around it.

Territory, waste, interruption, and melody are notable variables in the performance installation El Grupero de los Corn Flakes, by Mexican artist Eduardo Abaroa. Utilizing corridos and norteno finery, Abaroa's latest work forces the viewer to face the proverbial music with renewed senses of hearing and taste for breakfast cereals.

Tower of Babble On,a mixed-media installation by Robert J. Billings Jr., highlights different views of the artist's reality, including toy model boxes, model pieces, and photographs. The components depict both the significance and lack thereof between the individual parts as compared to the whole: they exist in a state of bifurcation between order and chaos.

The Cruzob, an audio-and-video installation by Mariana Botey, illustrates the story of oracular crosses that existed in the Mayan territories before the arrival of the Spaniards; the crosses spoke and instructed the rebels how to conduct the insurrection. This work collapses time and searches the history of Mexico for manifestations of indigenous rebellion by investigating its channels, elements, and magical symbols.

A digital image of a slaveship (Holland Amerika Lijn) and a chandelier of spears (Implements for Fishing) are the cultural symbols and objects Femi Dawkins combines to create a mixed-media installation encompassing time and space. As remnants of memory are lived through and destroyed and then remembered again, they offer an experience similar to those also found in anthropological museums in The Netherlands, the artist's home.

E. V. Day's wall installation articulates different components of a drive-by weapon discharge. The work's premeditated "hit you and quit you" potency derives from plaster casts of circular and otherwise concentrically arranged lethal shapes and sections of bullets impacted into the wall.

Using a holographic technique, Tony Do's In Corpore, In Spiritu, reflects objects in two-way mirrors, a ploy found in the popular Disneyland attraction the Haunted Mansion: instead of friendly ghosts, an apparition of a bared, suffering Christ floats before the viewer.

Amitis Motevalli, inspired by Islamic tradition, oral histories remembered from childhood, and formal education, has constructed an installation that examines the voyeuristic gaze of identity and "exotification." Motevalli's work reflects upon the five pillars of Heaven: namaz, meaning prayer: and the strictness of traditional ritual as manifested in a more challenging contemporary climate.

Everest Casualties 1971­1974, is an ice installation by Burt Payne 3. In the infancy of this memorial the names of Everest's victims are clear and distinct; the melting ice paces with the climb. As time passes the ascent slows, the decaying process begins, and ultimately, disarray and death remain.

Douglas Perez's light-box installation, The Pearls of Your Mouth, seeks to draw the viewer into the reality of the Cuban context by using the image of the black boxer, who is an ambiguous figure in Cuba-on one hand raw and powerful, and on the other official and heroic. Incorporating the main characteristics of Cuba's national identity, this work attempts to illustrate the island's history, specifically when the Spanish conquerors corruptly traded with the indigenous people valuable pearls for cheap trash and glass beads.