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"THE COLOR BALL"--Scott Lyall's most ambitious exhibition to date--might be seen as a culminating event for a young conceptualist whose oeuvre has been increasingly recognized for its formally sophisticated resistance to the workings of the culture industry. Curated by the Power Plant's director, Gregory Burke, the show took the form of a single installation resembling an entertainment venue or stage set, seen before a performance or a fete of some kind. This condition of anticipation lent a feeling of temporal displacement to a display that did not contain "finished" products. Rotating party lights were positioned overhead on two huge metal armatures like those used in concert halls. A bunch of circular table-tops and trays were stacked up...
