Atlanta-based artist Kojo Griffin continues his meditation on human bestiality in the fourteen mixed-media paintings and works on paper in his first solo show in Boston, where he grew up. Here the boldly colored backgrounds and mystical calligraphy surrounding his menagerie of animal-headed people and personified rag dolls in the works seen at the 2000 Whitney Biennial were replaced with muted color fields lightly penciled with patterns suggestive of DNA helices and chemical or mechanical diagrams. As before,though, apparently innocent anthropomorphic teddy bears, donkeys, elephants, and

From grid to wrinkle, block to smear, in black-and-white and color: So might one characterize the photography of Mel Bochner, all of which was produced before his better-known work in Conceptual sculpture. The images are a surprise, not just in what they show about Bochner, or the transition out of Minimalism into Conceptualism, or even the relation of photography to Conceptualist practice, but in what they demonstrate about photography itself.

Curator Scott Rothkopf aimed to illustrate, first, how Bochner deployed the photograph not as a document after the fact of a fully formed Conceptualist