Samara Golden’s “Guts,” the inaugural exhibition at Night Gallery’s new venue in downtown Los Angeles, offers a direct, physical encounter with fantastical perceptual experience. In this warehouse space, Golden has installed a huge mirrored box titled Guts (2022). Looking into it from one of two walkways reveals three white “floors,” each of which holds two “scenes” (one above and one below) relating to Golden’s shifting psychological states over the past few years: a messy living room with its toppled furniture, lamps, and crushed beer cans; an iridescent blue water-like surface; and an array of snaky, muted pink and lavender intestinal shapes that evoke the title of the installation, which gives its name to the exhibition. The effect is of one building contained within the atrium of another, extended vertically in a vertiginous series of reflections. It is a demanding task to distinguish between “real” installations and their mirrored reproductions. Guts builds on Golden’s previous site-specific installations using mirrored structures. The Meat Grinder’s Iron Clothes (2017), for instance, was included in the 2017 Whitney Biennial and staged handmade furniture to create miniature “sets” of scenes of everyday life. In the context of a shift towards virtuality and digitization accelerated during …