Off-the-shelf electronic devices always seem to have a feature that some engineer gleefully cooked up but few actual users ever figure out quite what to do with. Take the “tile” function on most digital cameras—the button that multiplies an image into a gridded set of sixteen squares, like a sheet of Sanrio photobooth stickers. It’s this type of dubiously useful function that serves as Rebeca Bollinger’s inspiration to explore the found structures of online databases, personal image banks, and sorting programs. The centerpiece of her recent exhibition was a double DVD projection titled

A strangely white-brown (sun-aged?) desk, one short leg a browned end of an unpeeled banana, hides the smiling arc of a golden banana, its ends somehow melded to the underside of the tabletop. As Banna 2001, demonstrates, Bruno Fazzolari is making an art form out of playing with his food.

Witty and weird, Fazzolari’s painted plaster sculptures invoke odd but popular verisimilar representations of foods: the plates of plastic sushi placed outside many Japanese restaurants; the papier-mâché or wooden fruits and vegetables in home-decor stores. His stack pieces, like Statue, 2000, a graceful graded