The question of how the work should be categorized is tricky to parse. Is it an app, a video game, or an artwork? What separates Circa 1948 from games and apps is its lack of function or goal. It’s a bit like the ’90s computer game Myst, but without any resolution or objective other than to roam these gorgeously rendered virtual environments and soak up the world Douglas has recreated. Themes of class, crime, and race are invoked, but it’s also a study in atmosphere, with the real-world conditions of a postwar milieu as its basis. Moreover, it comes with the associative heft of Douglas’s larger practice; it’s remarkable to what extent he has put his stamp on the medium, making the app a fluid extension of his vision and bringing a new, interactive entry point into the artist’s concerns.