Gregory Green’s meticulous replicas of pipe bombs, nuclear devices, letter bombs, booby-trapped suitcases, surface-to-air missiles, pirate radio stations, even a terrorist bomb laboratory, peddle an alluring, estheticized fear. His fastidiousness and the technological accuracy of these items gives them an eerie verisimilitude. Even in the relatively rarefied milieu of an art gallery, Green’s sculptures are still unnerving and often deceptive. Last summer the Chicago Police Department raided this gallery and served a search warrant to confiscate Green’s 10,000 Doses, 1995, in the belief that the