In the bright and tidy world of K. Packlick, subjectivity has been thoroughly erased—except for the artist’s curious practice of dating each work to commemorate the precise day of its completion. The things that inhabit these smallish, mixed-media collages—women, men, children, birds, flowers, and fruit—are identified reflexively; they are mere cultural furniture, embodying moralizing lessons in the esthetics of social instruction. The image material is derived mostly from popular magazines of the’50s. What appears at first to be nostalgic reference, however, finds skillful, calculated purpose