With his chaotic kinetic installations, Jon Kessler critiques our image-obsessed, surveillance-dominated world. His machines are at once complex and lumbering, combining mechanical know-how with kitschy materials and images. Kessler’s Circus (2009), a scathing and farcical indictment of America’s wars, is a spectacle inside an army tent, crisscrossed with wires and filled with humming machines, surveillance cameras and monitors, and action figure dolls clad in fatigues or the orange jumpsuits of detainees. In his recent work Kessler has ventured into less immersive art, manipulating digital photographs with mixed media, as in Predatero #2 (2009).