Known primarily for his cerebral and meticulous large-scale colored pencil drawings, Dennis Koch expands his universe to explore the visual strategies of the search for coincidence and meaning. In Beyond the Funny Farm! Crypto-K, Cutouts, Cut-ups, Copies, Mirrors, Membranes, and Temporal Algorithms Koch creates a mind-map of relationships that find, build, and amplify meaning in the form of sculptures and drawings. Wooden newsstand-like sculptures display 100 vintage copies of LIFE Magazine, each carved page by page to reveal interior images. Known as the first all-photographic American news magazine, LIFE revitalized itself during the 1960s in response to the popularity of television media. Koch's interest in LIFE as a cultural artifact stems from a time-parallel between contemporary political upheaval and the equally tumultuous events of the 1960s. Koch transforms the magazines into Cutouts – hand-cut magazine sculptures that offer visual patterns, ironic juxtapositions, humor, or criticism uncovered through Koch's meticulous X-Acto knife excavations of LIFE.  The Cutouts interrupt and reconstruct common narrative strategies by altering an object designed to be read in a linear page-turning fashion, creating correlations between cover stories and interior culture-influencing advertising or photojournalism, and by compressing past, present, and future into one legible space.

These works are accompanied by a drawing from Koch's ongoing Versor Parallel series, a collaborative drawing, and a sculpture. Consisting of three tennis ball hoppers converted into quartz-topped pedestals that display 3D-printed Sierpinski Triangles, the sculpture is placed centrally within the exhibition.  A Sierpinski Triangle contains a fractal within an equilateral triangle that creates an infinite regression