With the droll title “Borg Drawings: Resistance is Futile,” Victoria Haven’s first exhibition at Howard House, in 2000, consisted of drawings and wall sculptures in which simple shapes proliferated uncontrollably. There, the basic three-dimensional box composed of twelve lines—built out of common office materials such as colored tape and rubber bands stretched over pins—assembled itself into a fantastic architecture. Corrals, ramps, tunnels, roller-coaster tracks, and scaffolding pushed and pulled the viewer between two and three dimensions. At times they were simply a series of flat