Jeanne Dunning depicts partial objects that are eroticized, but of indeterminate sexual preference and identity: metaphoric equivalents for the appearance of sexuality. With a touch of glamour that injects a dash of perversion into basic fetishism, Dunning, who continues to explore the problematics of the gaze, now photographs anatomical surrogates: fruits and vegetables. In one series of sensational images, moist red globes (tomatoes) almost bulge out of their conventional oval frames to mimic male or female genitalia, and in another Cibachrome, a crimson tomato glistens in the hand of an

Don Baum’s art, like Joseph’s coat of many colors, patches together fragments of seemingly bankrupt source materials into objects that transcend their origins without erasing originary traces. Baum takes anonymous paint-by-number canvases and kitschy oil-on-velvet paintings that he finds in resale shops and cuts them up, recasting them along with bits of wood into very eloquent, small, profile portrait sculptures and wall pieces. He manages to imbue his rather forlorn and humble source materials with a curious kind of dignity. These works have the quality of modest votive presentation pieces,