With the recent release of Move and Kinect, and mountains of awful shovelware on the Wii with even first party titles tending to use
motion as an after thought, the landscape of motion gaming is bleak and depressing.
His work has been presented at Aargauer Kunsthaus, Switzerland (Cinema mon amour, 2017); Hayward Gallery, London (off - site exhibition The Infinite Mix: Sound and Image in Contemporary Video, 2016 - 2017); Audain Art Museum, Whistler (Intersections: Contemporary Artist Films, 2016); The Institute of Contemporary Art at the University of Pennsylvania, Philadelphia (The Freedom Principle: Experiments in Art and Music, 1965 to Now, 2016); Museum der Moderne Salzburg, Austria (Art / Histories, 2014); Bildmuseet, Umeå, Sweden (Theatrical Fields, 2013); Museum of Contemporary Art, Chicago (
Think First, Shoot Later: Photography from the MCA Collection and The Way of the Shovel: Art
as Archaeology, both 2013); The Museum of Modern Art, New York (XL: 19 New Acquisitions in Photography, 2013); Museum of Contemporary Art, Los Angeles, (Blues for Smoke, 2012, travelling to Whitney Museum of American Art, New York and Wexner Center for the Arts, Columbus, Ohio); Walker Art Center, Minneapolis (The Living Years: Art
after 1989, 2012); ZKM / Museum für Neue Kunst, Karlsruhe (Fast Forward 2: The Power of
Motion, 2010); and the Solomon R. Guggenheim Museum, New York (Haunted: Contemporary Photography / Video / Performance, 2010).