In Baby Mozart’s Kiss, three looping videos — sequel 4, sequel 5 and sequel 1 (2026) — are confined to miniature MP4 players. The moving image no longer commands a sovereign screen: it becomes an object, a relic and a surface that must be viewed at close range.
The installation is on view at Theta, New York, from 9 September to 24 October 2026; the documentation was posted on 17 September. Kelsey Isaacs uses miniaturised, repetitive video to place intimacy, memory and the technical circulation of images under pressure.