Unlike his 1997 debut at this gallery—a generic installation of found objects, postcards, Plexiglas panels, paintings, and a maze of gray particleboard—Kai Althoff's second exhibition is as memorable as it is idiosyncratic. Even so, walking into it is disconcerting. Althoff has no trademark style and takes a lot of visual risks. His work can be ugly to look at. Drawings are encased in tacky plastic; the surface of his paintings are often broken and bumpy. The 30 smallish paintings and drawings—which alternate between abstraction and figuration, and are hung in clusters—initially disappear into the looming space of the gallery. Slowly, however, what starts as a fuzzy jumble turns into a tightly woven, if disturbing, exploration of... More >>>