Because the thing that really defines this year’s show is a sense of investigation and exploration. Nearly every one of the artists is involved in art as research, or research as art, which is, in many ways, what one would expect from this year’s jurors, because if you’re betting, the only thing to really look at is the jurors. Sarah Oppenheimer, whose installation is a central facet of the BMA’s renovated contemporary wing, is also interested in the process of perception (I’d peg her as a vote for Feather, Watson, or Dawson, though Tata could be a factor because of his architectural interests). Likewise, Claire Gilman has consistently challenged the definition of drawing (putting her, one would guess, in the camp of Collis or Dawson—though her interest in photography might also put her in the Tata camp). And some of the work curated by Olivia Shao, such as “The Evryali Score,” seem to favor musical or noisy process pieces (putting her in the camp of either Feather, Collis, or perhaps even Dawson).