Both borrowing, and breaking from the Situationist International—an artist and activist collaborative who termed their method of mapping how desire affects the urban experience “pyschogeography”—Yellin’s eponymous series of montages also collapse mental projection through cartography. Here, an exploded catalog of icons, thirsts, dreams, and even nightmares congeal as physical, humanoid, shapes. Instead of the quotidian streets and pathways of everyday life, each work structures a network of picture puzzle allegories that link our minds and bodies to the world metonymically, and back again.

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