The present lot, titled Night Vision, was shown in this day-glo exhibition named after R.L. Stine’s 1997 teen horror classic. Equal parts conceptual and kitsch, Night Vision depicts a partially opened window with classic suburbia shutters over vinyl siding. Two ominous red eyes peer out from the deep purple darkness and pierce through the viewer’s gaze. Despite the acid-glow pink and crisp, clean forms, a deeper and darker sentiment churns beneath the surface. “’I’ve been thinking about the acronym of FEAR – false evidence appearing real – and I like the idea of what it means to leave a window open and what can come in’” (Janelle Zara, “Basking in the Day-Glo of St. Vincent and Alex Da Corte,” The New York Times Style Magazine, February 16, 2018, https://www.nytimes.com/2018/02/16/t-magazine/alex-da-corte-st-vincent.html). In Alfred Hitchcock’s episode “The Unlocked Window,” a woman becomes preyed upon as her basement window is left unlocked while a criminal is roaming around on the hunt. The fear is not a result of any imminent danger, but the product of constant paranoia and suspense – not what has come in through the window, but what could. Fear manifests from paranoia, anticipation, and trepidation, the chilling goosebumps and hair that stands on the back of the neck from entering darkness or an unfamiliar sound breaking the silence. But fear is not felt just from the things that go bump in the night, from ghost stories and urban legends – fear can reflect upon the realities of the political climate, where in 2018, when Night Vision was created, the country was grappling with the implications and anxieties of a polarizing presidency. Fear manifested itself not from monsters and murderers but with confronting the consequences of climate change, increased racial tensions, lack of gun control, domestic terrorism, etc. With its campy kitsch, Night Vision drew upon traditional representations of physical fear – an unlocked window, devil red eyes detached from detectable form – to unearth the psychological fears across imagined and actual realities.