Tate Foley’s new body of work, Horrifically Obvious, elaborates on the theme of duality and doubling, a focal point of his studio practice. The series consists of individual prints and drawings hung side by side in pairs—a reference to the spread or gutter in a book. Foley utilizes the spread as a device to force previous unrelated pieces into relationship and dialogue. Each element, informed by its counterpart forms a more complete whole. Yet even as we set out to discover and understand the connections between them, Foley’s use of office supply hanging mechanisms (metallic tape and binder clips) and varied techniques (drawing, risograph, screen printing, and digital printing) remind us the current status and the meaning of the work is in flux, playfully subject to influence and change.