Procedure most assuredly can become its own esthetic, and Roger Ackling’s modest and absorbing sculptures are wrought from a process worth retelling. His usual working method is to roam along beaches looking for washed-up small pieces of wood that have already been formed by human hands to serve sonic function, and then left to their watery fate. Ackling rescues these wooden chips, these orphans of technology, and then determinedly employs a magnifying lens to focus the sun’s rays, “drawing” (burning) rather rigid patterns of parallel lines across their surfaces. He retrieves and reforms, creating

Harold Haydon, now in his 84th year, has argued for more than half a century that the spatial and optical traditions of the entire history of Western art are based in error, and that to date he has been the sole artist to approach these elements in an accurate manner. He particularly rails against what he describes as the “Cyclops convention”: the attempt to render a world observed with the use of only one eye, with all elements, whether near or far, simultaneously existing in focus and seen from a single vantage point, positing what Hay-don reads as a patently false universe. Haydon’s paintings