Up, down, left, right—the seeming inexhaustibility of the possible formal (and even psychological and emotive) variations in the geometric structure of the grid is what maintains its curious hold on our consciousness. John Fraser functions as a kind of grid antiquarian, embellishing nascent grids discovered in found objects, elevating the salvaging of spent cultural artifacts above mere nostalgia by virtue of the undimmed pertinence of the geometric play embedded in them.

In most of his recent work Fraser uses old books as his primary source material. It is solely the physical structure of these

The cacophony of competing desires and calls to action—slogans on shopping bags and T-shirts, billboards and bumper stickers—forms a jumbled populist backdrop to our everyday routines. The appeal to aspiration behind the assault is crucial, its demands linked to signifiers of identity. In Danielle Gustafson-Sundell’s recent solo exhibition, “it’s midnight and i’m lonely,” the artist arranged eighty-nine of these sayings—rendered in a range of scruffy but vibrantly colored materials, including felt, denim, corduroy, and wool—around the gallery walls. As the statements competed for hearts and