The last time Jamison Edgar curated Matthew McGaughey was at Honor Fraser, where I had VR sex with the Fixer Upper stars Chip and Joanna Gaines. I wore goggles with Chip’s POV and had an unforgettable sexual experience with a creepily uncanny version of Joanna through Chip’s body. The three-person pop-up exhibition, “Haunting House,” presents this domestic saga’s next chapter: Renovation Game. Here, the house represents violent bodily renovation. The four-channel video, Reconstruction (2024), is set in a jagged drywall hole, illustrating the relationship’s violent undercurrent—a nod to The Shining’s axe scene. In the Hole Theory series, McGaughey creates flesh wounds from images of holes in interior walls, wrapping the canvasses with a translucent “skin.”

Daniel Klass Beckwith’s rug works are littered with the detritus of a domestic nightmare. These are the rugs in the home where you don’t want to stay for dinner, or the morning after. The “ick” evaporates upon discovering that the pieces of litter are actually tiny polyurethane sculptures depicting mustard squirts, spaghetti, and cigarette butts.

I have mixed feelings about the aesthetics of Alex Steven’s Justin Bieber and Heaven’s Gate-themed works. The intersection of fanaticism and capitalism brought printed Bieber blankets, brass-plated fingernails, and a diffuser with Mormon-marketed essential oil. I do appreciate the nod to Hans Bellmer’s La Poupee in the figurative wall sculpture, In Love With A Clown at the Show (2024). “Haunting House” was worth the visit, and Jamison Edgar is a curator to watch.