The three large board-mounted ink-jet prints—text panels, really—that make up Carey Young’s “Disclaimer” series, 2004, openly claim their heritage in Conceptual art: Unadorned, visually nondescript presentations of statements with reflexive content of a possibly paradoxical sort, one could easily trace these works’ lineage to textbook precursors of the ’60s such as John Baldessari’s Everything Is Purged from This Painting but Art; No Ideas Have Entered This Work, 1966–68, and Mel Ramsden’s Guaranteed Painting, 1967–68.

Unlike much other current neo-Conceptualist work, however, Young’s seems

Those expecting only traps and tricks were in for a revelation at this show: Slominski paints. Yet his paintings—executed in garish colors on expanded polystyrene, foam, and plastic shapes—looked more like gigantic frosted cakes or pages from children’s pop-up books propped against the wall. Cutout objects, both magical (four-leaf clovers) and commonplace (nails), adorned the surfaces, which appeared to have been traversed by toylike sets of (Slomin)skis and poles, affixed to some of the paintings in lieu of a signature. Their cryptic titles—xHBy181z, 2005; xHBy62z, 2005—suggested locations on