A Rem Koolhaas in Chicago, a Kyoto rail stop, a Boston parking lot; linens on the steps of Benares, linens hung from poles alongside the flag of Singapore; naked dummies of the Orient, and an array of Italian china behind glass. As the Marcum and Pennington song goes "I'm a three time loser. . . .at the end of the line." The potentiality of a Scene Three notwithstanding, this is the end of the tactile|mercantile line, a good time for reflecting. The losers? Might be said to be those who made the cut imprisoned within exhibition walls, fixed like appendages to these assemblages. Allingham, the poet and diarist, wrote, "An Exhibition always troubles my mind—why?—it is heterogeneous and confused, as a whole the very opposite of an artistic thing. A Collection of whatever kind ought itself to be a Work of Art—hard to manage this in a temporary Exhibition, yet even here something might be done" (William Allingham, Diary, 19 September 1866, Southampton Exhibition). True, some of the photographs of tactile|mercantile are collected elsewhere. Jonathan Miller in the National Portrait Gallery, along with Ralph Richardson, Robert Stephens, and Keith Simpson. But it might be that in many a mind's eye Miller's upward gaze is forever fixed upon Constantine in stone. But, better than to be stuck in a slide box, no? Like those many images left out of the show. And better than to be hung upside-down, as some of the fertile images accompanying Ralph Richardson nearly were, as well as one aquatic picture, and the rusted structures of Bangkok on reflection were reversed. And, better, even, than to be hung sideways as a CÚzanne landscape was hung for thirty-one years in a national gallery, referred to as "Reflexions in Water." But how best to orient a reflection? Which is the right side of the looking glass? Miller met with controversy over his own perspective when 40 years ago he directed his film "Alice in Wonderland" for the BBC. His book, "Subsequent Performances," assesses artistic afterlife, "the peculiar transformation undergone by works of art that outlive the time in which they are made" and his National Gallery exhibition, which toured art centers of the world, is entitled "Mirror Image: Jonathan Miller on Reflection." In interview he said of his exhibit that it is best to "describe what I was trying not to do."

One image that both is and is not of this exhibit, an issue of orientations, is a self-portrait of the artist, naked behind glass, reflecting unselfconsciously upon an unknown icon, best subtitled, perhaps, Pretentious on Purpose, or, better yet, Pornographic on Purpose. Sex Sells is the line, and that is the bottom line for tactile|mercantile.