Throughout the exhibition, Peter Fischli appropriates the language and rhetoric of Dan Graham, in a tribute to his architectural work and his all-consuming interest in music and its subcultures. In the North Gallery, a serial arrangement of music ephemera, comprising CDs of Greatest Hits sent by Graham to Fischli, mimics highbrow and conceptual art practices. Adjacent is Hedges and Two Way Mirror Glass Labyrinth (1991), an architectural pavilion shown in dialogue with a series of architectural models spanning the years 1978 to 2003. In the South Gallery, prints, objects, and collectibles—assembled as a private cosmology invoking the work of Fischli/Weiss— range from informal bricolages to a few rare novelties from the artist’s personal collection. An immersive sound component with a playlist, curated by Graham, reveals the artist’s eclectic music tastes, creating a mise-en-scene that is part suburban arcade, part manga video lounge. The show culminates with video works, including Graham’s seminal Rock My Religion (1983-84), juxtaposed with late ‘70s footage of punk concerts from Fischli’s hometown, in PUNK COCKTAIL: Zurich Scene, 1976-89, 2006, as well as a diaristic series of photos taken by Graham’s friend Isa Genzken at rock concerts they attended together in the early ‘80s.