Signer has been conducting and documenting his quasi-scientific, often humorous and (literally) explosive experiments since the 1970’s. For his exhibition at the Swiss Institute he divides the space into four rooms. The first contains a piano, tennis balls and an industrial fan. The second holds cinema like seating with a single continuously rocking chair and a projected film of this installation. The next space displays videos of recent works, and the fourth hosts “Waiting for Harold Edgerton,” a piece the institute describes as a “deliberately enigmatic” intervention. Sounds good, right?