Three decades into his practice, Jim Campbell continues probing the threshold between abstraction and recognition. “Encoding Light” at bitforms NYC situates historic pieces alongside new works, positioning the American artist’s low-resolution LED installations as investigations into how perception fills in visual gaps. Motion Color Study #6 (2026), for example, translates footage of Monet’s Giverny garden into blurred colour fields—a continuation of the Impressionist’s inquiry, not a reinterpretation.