the looped video installation Drops (2017) was potent in its simplicity. Beginning with a grid of white lines on a blank background, one of the artist’s familiar mannequins falls—as though shot dead—into the frame, except it is only visible through a sub-grid, as though seen through a window. More and more bodies fall into adjacent grids, piling up in a confusingly flattened virtual space and poignantly suggesting the skewed mediatization of violence.