The exhibition had to be one of paintings; it is the medium most suited to the subject matter. Not only does it seem as if spirits are drawn into the works, they also radiate fantastic colors and glow. These are the qualities that digital screens and performance documentation just can’t provide. In pieces such as Adbar III (2015) ubiquitous stickered dots, strict, straight lines, and perfect circles offer a detachment of the artist from his work, and the result is captivating. The landscapes Temesgen offers aren’t recognizable and they are just abstract enough to be universal. The key to “Adbar”’s success is precisely this subjective, interpretive quality.