Many artists have used mirrors to reinforce the presence of viewers and spaces alike, creating a specular affirmation of site and bodily self. Fewer have grappled with the mirror's converse aspect, in which reflection, à la Lacan, jarringly severs the self's imago from its outward reality. And fewer still have engaged both facets as effectively as Samara Golden, whose work titillates and unnerves in equal, unflinching measure. Golden's reflections place the physicality of both installation and spectator in limbo, in spaces that are at once surreal and personal, dense with uncanny imagery conveyed via matter-of-fact constructions. . .