Architectural sculptor Linnea Glatt and photocollagist Frances Merritt Thompson’s collaboration, Expose, Acknowledge, Reconcile, 1989, consists of two drywall structures that run the length of the gallery, inset with a series of slatted, wooden screens that can be opened by the viewer to reveal backlit transparencies. Two rows of elegant, if not quite comfortable, double-sided plywood chairs run down the center of the installation.

Filling the entire windows, Thompson’s Duratrans photocollages achieve a cinematic presence. They combine such images as a human fetus with a medieval map of the solar