For Bohl, exhibition environments, including the way artworks are made, installed, and displayed, become self-imposed situations that demand a specific form of observation. He is interested in the idea of dramatizing these pieces in different formal arrangements that are engaging and performative. By uniquely dividing and creating different areas of space in the gallery, Bohl navigates a path and outlines sceneries for the viewer. The sceneries can create both a variety of plays for one setting or a variety of settings for one play. Bohl draws shapes with scissors and pastes them directly to the surface; elements such as sickles, tears, and circles are formed from rolls of colored window display paper and applied onto primed canvases. Sections are left curling up into tubular rolls, enhancing air bubbles, wrinkles, and ruptures that artificially evoke the clammy peeling of wallpaper posters in a subway station or the lifting of the curtain shortly before a play. The fragmented imagery alludes to Kabuki Theater faces seen in his earlier work, but is now deconstructed and abstract, leaving still a physical semblance of the vibrant caricatures.