Always meticulously crafted, Richard Rezac’s small abstract sculptures just miss being a direct representation of something known from the natural or built environment; the twelve bronze and wooden pieces shown here suggested bones, twigs, and architectural fragments of architecture. For the past ten years, Rezac has depended on intuitive geometries—combinations of curves and squares, planes and volumes, plans and elevations—pitting two and sometimes more systems against each other in dense sculptures heavy with allusions. His sherberty palette of lime green and pale peach sets off another range