Art historian Jacky Klein calls this 'perhaps Cohen's most intriguing assemblage', comparing it to his 1990s shopfront paintings, with text 'in snippets', like 'a sort of coded Dadaist puzzle'. She identifies 'a strong seam of the autobiographical, from the tools of Cohen's trade to his love of all things technical; from the internationalism of his wordplays to the anthropomorphising of the central objects into a pair of lovers - perhaps the ghosts of Columbine and the Doctor once more'.
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