Manning the post of cultural imposter extraordinaire, George Horner has remained committed to Silly Putty for more than two decades. In fact, he has dedicated his life to the examination of just how far and how high the lowest common denominator can be made to go. Horner continues to deliver the art our moment so desperately “kneads.”

Horner’s amiable deflations begin with his splendid surfaces of molded Silly Putty, fragrant and pimply seas of textured pink that spark memories of youth. He deploys this substance of aimless diversion in blatant and charming excess, making the childish become

John Dunn’s moody, secretive, recent paintings seem composed of random and largely abstract pictorial elements that drift across the canvases in dreamy abandon. This palpable poetic diffidence is hard won—the pictures seem battered and bruised—and results from Dunn’s careful planning and meticulous execution. He treats canvas as a veil: sometimes it is all surface, sometimes it functions as discloser or revealer of uncharted depths, but always it remains a tactile vehicle of enormous sensual power.

Dunn has severely restricted his color schemes in each of the nine works in this exhibition. Somber