A “dark pool” is a form of high-speed trading whose machinations take place outside the reach, and modicum of control, of regular markets. But rather than indict a hypertensive and extra-judicial financial system, David Panos’s “The Dark Pool” is concerned with a different set of transactions, binding labor and the labors of the image in our accelerated times. In contrast to the promises of personal emancipation and reconfigured communality that accompany progressively ethereal ways of being in the world, immaterial labor here is weighed down, mattered and gestured. It is embodied in figures that complicate the distinctions between abstraction and representation. Video works, accompanied by sculptures that coagulate objects and ghostly images into the appearance of three-dimensional film stills undo the standard take on abstraction as a toolbox for comprehension of—or a scenography for ethical reconciliation with—the world. Panos’s investigation into abstraction seems to be, to equal extents, a historical critique and a taxidermic operation: it introduces detours into the chronology of philosophical maneuvers via which thought disincarnates and wrests intelligibility from matter; complementarily, it stuffs concepts with the material ballasts they sought to discard in order to be concepts and attain metaphorical lift-off from mundane, unholy realities. In “The Dark …