Published to coincide with Flood, Charles Harlan’s first institutional solo exhibition in the US, this small-run publication features the essay “Strange Utility” by curator David Everitt Howe, as well as installation shots of the exhibition. Together, they help contextualize the artist’s practice, which gives everyday, industrial objects newfound aesthetic value. In the process, bricks, chain link fencing, and asphalt roofing tiles, among other materials, undermine — in the vein of the Readymade — given conventions of what constitutes a work of art and its institutionalization.