Karla Wozniak’s work depicts a dull Fulton Street mall billboard painted in an expressive style that does more to transcend the advertisement’s shallow promises of mobility and freedom of (tele)communication than its own dated design. Nathan Redwood’s painting meanwhile shows a surreal, desert landscape in skewed perspective and molten gold seering from the ground. Tom Brauer’s mixed-media drawing depicts a blue map that is more fantasy than reality, its medley of seemingly found materials rising off the carefully worked and composed ground.

Two of the strongest pieces in the show come from Eliza Newman-Saul and Lee Roberts, whose work couldn’t be more different. Newman-Saul’s witty drawing adorns the show’s card, but her work is nowhere to be found in the gallery. The black ink writing across the found slide shows the artist’s seemingly jaded impositions over the banal travel pictures. That the work only exists as a free multiple, intended to disperse and disappear as the exhibition closes, in relation to the crafty paintings and sculptures on display, seems to be a comment on the efficacy of studio practice to do those things which the press release purports — here the artist's interest lies in visibility and distribution over creating rarefied cultural objects. Lee Roberts on the other hand painstakingly crafts his own rarefied cultural object: the Bugaboo Chameleon stroller, prized in the neighborhoods of the wealthy the city over. Roberts models and casts the miniature strollers in plastic resin before painting them, reconstructing an existing cultural form without modification, save for the removal of its functional value, of course — the strollers being too small to carry a child. The elegant gesture here underscores the exchange value of the Bugaboo brand while negating everything else, becoming an essential critique through quotation.