Although you might not expect it, Clay Ketter and George Stoll share a number of concerns. This ambitious exhibition (aptly titled “Impostures”) of thirty-seven recent sculptures, paintings, and drawings brought their work together for the first time. Responding to conceptual and formal similarities, curator Lelia Amalfitano juxtaposed Ketter’s architectural wall paintings and building-material sculptures with Stoll’s handmade replicas of mass-produced products like Tupperware, toilet paper, and sponges to confront what she describes as “the modernist utopian ideal and the quintessential domestic