There are moments in which order appears less as a system than as a fragile agreement between things. A cat asleep on a window sill. A chair shifted slightly toward the open window. Three empty cardboard boxes that nobody remembers bringing into the room. A blanket preserving the outline of someone no longer there. For now, this is the order of things, while light continues to move through the room long after it has changed purpose.

For more than four decades, Annika Eriksson has developed work attentive to the unstable arrangements through which figures inhabit space alongside one another. Her films, performances, and installations observe how gestures, habits, and routines organize forms of living together: how proximity is negotiated, how behavior adjusts itself under observation, and how invisible structures shape everyday life.

Because the world is full of eyes.

In Eriksson’s work, observation rarely functions as mastery. Instead, it circulates as exposure, vulnerability, and…