Liminal space was the operative theme in Reuben Lorch-Miller’s recent exhibition at Catherine Clark Gallery. Visually and verbally, formally and conceptually, Lorch-Miller’s photographs, sculptures, videos, and wall-painted texts consistently explore the idea of ambiguity. Eight selections from a series of color digital enlargements titled “From the Oblivion” (2003–2005) set the tone here. Their subjects appear arbitrary—a tornado, a snowy mountain, a heavy-metal musician—though the spirit of Richard Prince’s early appropriations hangs heavily over them all. Lorch-Miller’s works originate in