Gerard Päs’ sculptures and watercolors are a fusion of pure form within a self-sustaining vision of purgatory. Päs uses the utopian vision of the Russian Constructivist and De Stijl movements, adopting their clean precise lines, stark geometry, and the latter’s primary-color combinations. This is not to suggest, though, that the exhibition serves as a sweeping homage; rather, it sets the ideals of purity and order against the artist’s personal backdrop of physical disability. At a very early age, Päs was stricken with the polio virus, which resulted in physical impairment. Since 1977 his disability

Colette Whiten’s new work investigates the colluded relationship between political power and the media. All eight pieces shown here rely on wire-service photos for their stock imagery. The heroic codes submerged in these images are underscored to construct a critique of photojournalism as a latter-day style of court painting. All this is familiar territory in appropriation art, but Whiten goes one step further in signaling a cool, wary detachment from her subject. She leaves behind the photographic realm entirely: her photos are worked out in elaborate cross-stitch needlepoint.

Whiten’s is a