Mike Jacobs’ work provides us with a critical commentary about how perception works in a culture of constant acceleration. The scrim of images that he pulls from life, advertising, and art history are all woven together into a seamless whole that makes the pictorial field function like so many interlocking parts of the mind. As such, Jacobs’ art is nothing less than a confrontation with the kinds of visual phenomena that serve to establish an immediate and perfunctory relationship between a discrete object of perception and the person viewing it.