In Santiago Cucullu’s recent solo exhibition, wall sculptures constructed from paper table skirting (the disposable kind you find at “party paper” outlets) acted as a minimalist counterpoint to giant contact-paper murals and delicate watercolors portraying gallows and other equipment associated with capital punishment. The festoons of crepe paper and the watercolors’ bright hues stood in contrast to the installation’s formal and conceptual rigor. Each paper panel, for example, could be read simultaneously as a swatch of pure color and as a consumer product—rendering it a kind of hybrid readymade.