I don’t want to mischaracterize ArOS’s subterranean exhibition space known as the 9 Spaces, but there’s no doubt they’d would make a great host for a drug-fueled dance event. Rooms of varying size emerged from a dimly-lit labyrinth of black-walled hallways, each containing a piece of video art or light-based sculpture that were – even without the pills – sensorily intoxicating. A few highlights:

It was only minimally disappointing that the James Turrell piece – Milkrun III - on view was the same one I’d experienced last Spring at the Hirshhorn Museum in Washington, DC. (Really, how can a James Turrell *ever* be a let down?) Despite dozens of children roaring through the exhibition rooms (it’s a school break week in Denmark), I was still able to have a few quiet moments soaking up the warmth of the work.

Olafur Eliasson’s installation actually had people laughing and goofing around. (OK, mostly the kids … and me.) The well-lit piece was a welcome change from the coal black spaces full of jarring oddities (I’m talking to you, Tony Oursler). And who doesn’t love having their perception warped by infinite mirrors?

Mariko Mori’s fiberglass totem pulsed with light, and – in proper totemistic fashion – was presented on an elevated platform, making the viewer ascend a few steps to get close to the work. It was a nice presentational touch that added to the overall experience of the work.

Bill Viola’s “Five Angels for the New Millenium”? I’ll leave it a deeply moved declaration of “holy s**t.”