Academy exhibitions in the eighteenth and nineteenth centuries hung paintings floor to ceiling, any which way, because wall space was scarce and status was earned by placement rather than isolation. Modern galleries mostly abandoned this for the ‘one work, acres of white wall’ convention.
We went back to the crowded version on purpose. Grotesque work benefits from a neighbor pushing back against it — a quiet piece looks quieter next to a loud one, and a loud one loses some of its shock value in isolation. Irregular is more honest to how we actually hang the floor.