As with sonar navigation, curating is fundamentally a test of limits – sending a signal out and seeing what resonates. For Canadian artist Allison Katz, whose paintings pull from a vast collection of iconographies, this process of selection and combination comes easily – giving her recent turn to curating the weight of inevitability. Troubling the distinction between artistic work and curatorial project, ‘In the House of the Trembling Eye’ at Aspen Art Museum features new and recent pieces by Katz alongside works by other artists, predominantly sourced from private collections in and around Aspen, and adopts the framework of an ancient Roman townhouse, or domus. . .