Both this exhibition and a concurrent one at Max Protetch gallery in New York were filled with continuities, as well as departures, from Siah Armajani’s earlier work. While his interest in the political structure of American public spaces remains, two recent series (entitled “Streets,” 1992–93 and “Notations on Streets,” 1992) condense the artist’s familiar examinations of architecture and artifacts in small tableaux of corrugated cardboard, props for model-train sets and doll houses, and found materials. These diminutive studies manipulated conventions of presentation (combining and confusing