Rindon Johnson’s art always seems to start out from somewhere in the middle, charting a course without any definitive end. The artist foregrounds the tensions within familiar binaries and systems of value—abstraction/representation, human/animal, waste/product—drawing the viewer into open-ended exploration. As nearly like the day. (all works 2022), for example, is the latest in Johnson’s series of cowhide pieces. Here, the artist quietly and elegantly decontextualizes the skin as a byproduct of the livestock industry by exposing it to the elements, bleaching it, and stretching the material over