Gary Justis’ most recent sculptures assert a continued inquiry into the possibilities of kinetics, but do so in a quieter manner than did his earlier work. Gone are the confrontational figures of his previous efforts, the complex and intrusive evocations of spasmodically gyrating characters drawn from mythology. Also gone is the staggered and overlapping programming of the lights, levers, lasers, and motors that, in unending combinations, made these figures play out their arcane and predictable programs. In their place is work with a pristine sense of restraint, a determined quality of stylish

Donald Lipski’s sculptures are acts of reclamation, reprieves for objects contemporary culture usually overlooks or discards. His art makes use of the very things believed to be beyond redemption: the mass-produced, machine-tooled effluvia of rust-zone America, objects that, once divorced from their original functions, are empty and forgotten. Lipski collects, buys, and stores away this stuff—pitchforks, fire extinguisher foam nozzles, chunks of fiberglass, saw blades, chalkboards, mooring buoys, operating room lights, dice, pipettes, steel shot, and more. The objects are saved for that moment