Bruce Conner’s latest show conjured the ghosts of Edgar Allen Poe, William Blake, and Max Ernst. Spanning nearly a decade, the works (which ranged from 1987 to ’96) were divided, by methodology, into two categories: inkblot drawings and wood-engraving collages. The latter are elegant black and white cutups of fin-de-siècle engravings, which Conner scissored into surreal, absurd incarnations, full of mystical hints. One such piece, The Advance of Technology, 1996, is an altered biblical illustration. Gesturing energetically toward a shy Christ is a barefoot, robed figure whose head is covered by

The work of James Galanos rips apart the now-tired dichotomy of fashion/art at the seams by showing that fashion has its own concerns, its own complexities, for which there are few artistic equivalents—trying repeatedly to pattern one on the other will only lead to a bad night’s sleep. Take the simplicity and outrageousness of Galanos’ 1958 coat dress in butterscotch-colored wool and llama flannel (twill weave) by Leseur from the personal wardrobe of house model Pat Jones (now Weiss). Cinched at the waist by an extravagantly oversized belt, only a recent leather example by Martin Margiela comes