Since it is impossible to say—in the work of K.r.m. Mooney just as in the world—where one thing ends and another begins, it seems appropriate to start by considering the structure that houses this exhibition. An ancient wooden shed, it was once a garage for the large Craftsman home it sits behind, built in 1906. Wide sliding barn-like doors open onto patched timber walls and a cracked concrete floor stained from years of dripping motor oil. Weeds sprout through some of the cracks and papery pink bougainvillea petals blow in from the garden. As a concession to the aesthetic formalities of the white cube, a pristine white rectangle of wall divides the front gallery from the storage area behind. There are only two artworks on the checklist, though the exhibition—titled “Oscine”—comprises many more parts. A case in point: the first work on the list, Accord, a chord (all works 2016), consists of two small box-like sculptures placed on the floor of the gallery. A diptych, if you like. Their dimensions reminded me of external hard drives or books—dictionaries perhaps. Both allusions are pertinent. As with most of Mooney’s work, each is a combination of modified and crafted elements: in this instance, …