Coupled with the pervasive hum of the neon transformers, Joseph Kosuth's A short history of my thought at Anna Schwartz Gallery is a grab-bag of his past fifty years working with neon. Far from any noir promise historically associated with the technology, the neon works—mounted on the pristine white walls of a commercial gallery—seem muted and grim, limited in their referential and atmospheric potential. Taken on their own, Kosuth's works often invite speculation on the secondary textual sources he makes use of. Taken all together, there is a distinctly different emphasis.