Sonya Blesofsky folded bricks out of Glassine (an archival wax paper) and used them to "fortify" one of the gallery's windows; this filtered luminosity reinforces the nimble tone of the show, which employs paper as its unifying motif. Nearby, a section of the gallery has been colonized by Sarah Kabot's faux ceiling tiles and lighting tracks, fashioned from paper and foam core (Permutation, 2008). The ersatz light stanchions form stalagmites on the floor and jut stiffly from the walls, mimicking the actual fixtures suspended from the ceiling. Noriko Ambe's Plexiglas flat file is filled with layers of paper from which irregular holes have been excised, creating portable topographies; Susan Hamburger presents a rogue's gallery of Bush-administration officials rendered in blue ink on paper plates and arrayed like Grandma's best china in a foam-board cabinet. Elsewhere, Andrew Scott Ross has transformed cut and crumpled gray card stock into a miniature prehistoric encampment that includes figures, cave dwellings, and wispy primitive imagery. The poignancy of this monochrome dreamscape easily transcends its homely materials.
Tuesdays-Saturdays, 10 a.m. Starts: Aug. 6. Continues through Aug. 15, 2008
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