Paul Pfeiffer's 2002 still, Four Horsemen of the Apocalypse: 7, is an extraction from basketball footage, one of several in a series in which sports gestures are decontextualized and, in isolation, made to signify anew, largely eliciting tropes of existential angst that emerge in the absence of the frame of time. Seemingly for topical reasons, the work has surfaced in "Size Does Matter," basketball player Shaquille O'Neal's catch-all group show curated for The Flag Art Foundation, which opened on Friday to a line of gawking spectators. Among works by Tim Hawkinson, Jeff Koons, Cindy Sherman, etc. hung a Peter Max portrait of "Shaq" and other assorted kitsch.  In such a context, the subject of basketball took priority in Four Horsemen, one of many instances in the show in which subtlety of meaning dissolved into a crass first order of signification.  While art fairs have acclimated current viewership to a a certain site-unspecificity and disregard for thematic principles that unite individual visions, this show, which might have been called "Context Does Matter," takes de-mythologization further; it made about as much sense as a MoMA curator stepping in for a round of professional basketball.