At first glance, Kevin Pasnik’s object-sculptures appear to reference Minimalism, both in their use of industrial and everyday materials (sheet metal, 4 by 4s, and actual tree branches) and their serial, highly structured interaction with the surrounding space. Closer inspection, however, discloses a more overt concern with process. Pasnik attempts to occupy an enigmatic middle ground between the art object and performance (with the “work” acting as a trace of work). Unlike Minimalist practice, which tends to present the object as a productive fait accompli, Pasnik includes the residue and debris

David Bunn taps into the pleasure humans derive from peering into things, and the results he achieves are both wry and contemplative. Employing telescopes, magnifying glasses, windows, and kaleidoscopes, as well as less conventional pieces of hardware-turned-viewing-devices such as lengths of plumbers’ pipe and fire-hose nozzles, this work deals with seeing as an eternally open-ended activity. Rather than focusing exclusively on what is visible at a particular moment or from a single vantage point, Bunn examines shifting points of view and politically resonant visual puns to explore the mutability