Although Toby Ziegler’s exploration of pictorial space—its artifice and illusion—leads him to make objects as often as paintings, the organizing impulse behind it is fundamentally that of a painter. The impressive range of the works here—three paintings, several sorts of three-dimensional objects, and a rug—showed his willingness to push a highly focused project as far as it will go, encompassing classical perspective, the flat space of abstraction, and the digital field of information. The objects represent the folding of these planar manifestations into geometric or representational volumes

Two or three things I know about Milena Dragicevic: She’s Serbian by birth, raised in Canada, and London based. She’s a twin, and her paintings have previously applied the no-doubt-peculiar feeling of observing something that looks like you but isn’t to the post-Communist East and West. A couple of years ago she made a few too many canvases that diagrammed fashionable nostalgia: Soviet-era modernist architecture floating over color fields or striped backdrops that resembled ’60s American abstraction at its Clem-pleasing zenith of flatness. But she had a sideline in cleverly composed portraits

A sheet of silvery gray satin, on which the film’s title is embroidered, slides down to reveal a naked, supple torso. Mechanized cylinders shift from side to side, accompanied by a hissing noise, as the camera cuts between them and a man’s shifting eyes in close-up. These are the opening scenes of Daria Martin’s Soft Materials, 2004, a 16 mm film shot in the Artificial Intelligence Laboratory at the University of Zurich, a research center specializing in “embodied artificial intelligence”—robotic learning though sensory perception and interaction. Martin’s ten-minute film uses gesture, touch,