The nine sculptural reliefs, or “inlaid drawings,” of architectural fragments that Sarah Bostwick exhibited recently are closely observed and strikingly composed. Each work in Bostwick’s “Grand Apartment” resembles a chunk of facade or interior wall seemingly extracted from its original site. Most are smooth white rectangular slabs of Hydrocal or wallboard that, from a distance, exude a minimalist purity. But on closer inspection, the artist’s hand is clearly evident in the range of intricate carving, etching, and inlaying on display.

A number of these works depict the elaborate skeletons and