Jeanne Silverthorne’s installation was a meditation on the artist’s studio, providing a point of entry to a body of work that resonates in surprising ways. Her strategy of blowing up the small plaster fragments that are the material residue of the casting process and transforming them into large black rubber sculptures evokes the nature of the contemporary artist’s role: the need to search for new visual forms when so many have already been exhausted. Her investigation of the sculptural process through its leftovers lends an ironic cast to the persistence of artistic practice and the still