John O’Reilly’s black and white Polaroid collages are intelligent combinations of art history’s past and O’Reilly’s personal fantasies. His most recently constructed inventions juxtapose images of classical male statuary, paintings by Caravaggio, and photographs by F. Holland Day and Wilhelm von Gloeden with nude self-portraits. These curious blendings of past and present, culture and commonplace, are contained in elaborate interior studio sets designed by O’Reilly. All 23 collages exhibited here have been carefully layered to create a contemporary magic-realist space. The pieces resemble whole

Of all recent art-making strategies, deception, whether manifested in the physical, the cerebral, or the emotional, has played perhaps the most prominent role in the shaping of an ’80s sensibility. It can be seen in just about every “hot” art style of the decade: from Julian Schnabel’s mock-heroic posturing to George Condo’s supposed love affair with his palette and Philip Taaffe’s visual distortions of Bridget Riley and Barnett Newman. Recently, deception has played a part in the art world’s romance with age—the tattered, torn, and worn look, as exemplified by the Starn Twins’ taped photocollages