Exhibitions don’t really begin and end at the gallery; for Caroline Russell, whose interest in display began in 1987, the invitation card plays a significant role in setting up the spectator. While the sophisticated contemporary-art audience expects to be titillated through the mail slot, Russell’s use of a grammatically incoherent excerpt from a commercial-supplier-of-display-paraphernalia catalogue is so cannily like the experience of the show itself as to be virtually ekphrastic: “Bumper Strip has vertical ribs along the entire length of the strip reducing surface contact by passing traffic,