While the artworks in this exhibition don't meet the stated goal of showing a causal relationship between “hard light”—a filmmakers' term for light that casts sharply defined shadows—and fragmented narrative, the highly focused selection creates an enveloping, nonlinear ambience. Cocurated by Doug Aitken and P.S. 1's Klaus Biesenbach, the show is anchored by Aitken's magisterial interiors, 2002, a room-size video installation whose four channels, each a coordinated crescendo of sound and image, are shuffled across three screens every few minutes; its clockwork climaxes are like waves lapping at a shore. The rest of the works in the show, which are mostly atemporal, use wildly different kinds of light to invoke different moods, from the uncomfortably harsh fluorescence of Bruce Nauman's Green Light Corridor, 1970, and the seizure-inducing blinks of Carsten Höller's Atomium Phi, 2004 (which looks like a cross between a Calder mobile and George Nelson's “Marshmallow” sofa), to the softly contrasting indoor and outdoor black-and-white images of Ed Ruscha and Lawrence Weiner's collaborative book Hard Light (1978). There's no prescribed path to travel, but as you wander back and forth through the galleries, it's likely that you won't want to leave.