Pulling back the curtain that usually obscures the mechanics by which art is displayed, Tony Tasset presents presentation. In the process, he reveals connections between these usually anonymous procedures and the larger institution of art. His is an art of necessary deflation, a measured autopsy, that reveals and exposes the systems that sustain art’s autonomy.

Abstraction with Cardboard Corners (#3) (all works 1990), a work that consists of a rectangular slab of wood painted a creamy white, leans against a wall with its four corners sheathed in protective cardboard. Seemingly forgotten or set

Reflections off the Plexiglas surfaces covering Gaylen Gerber’s graphite drawings, coupled with glare from the stark, white gallery walls, frustrate attempts to read the images, which are rendered with such a gentle touch as to be virtually invisible in the first place. I can’t say what these works picture, because I couldn’t make them out; what I know depends on hearsay and literature, not firsthand experience. With a great expenditure of sweat and time, a few details begin to emerge—a shape, a snarl of lines—but they disappear again on closer inspection. Each image amounts to a spotty collection