Glen Rubsamen’s exhibition of new work, “A Reassuring Lie Unfolds,” consisted of work in several media: drawing, painting, printmaking, and video. He uses all four to create a hyperreal landscape, documenting man’s attempt to rectify nature. As indicated in an accompanying text, the images depict a scene after a lightning storm in an open field and the subsequent destruction of trees containing storks’ nests. A tower was built and faux nests installed in the hope that the birds would return.

In his first drawing, hanging in the reception area outside the main gallery space, one is introduced to

Felix Gmelin’s installation Tools and Grammar, 2007, is an atlas charting the way through a tangled thicket of emotion, from raw anarchy to nuanced compassion; it is a work of apocalyptic lyricism. To make this journey, Gmelin relies on a cast of characters and their art, literature, and politics: filmmakers Jean-Luc Godard and V. I. Pudovkin, enlightenment writer Denis Diderot, Nazi art theorist Paul Schultze-Naumburg, and, the soul of the installation, the children in a German silent movie from 1926 titled Bei den Blinden (With the Blind Ones). Tools and Grammar is a walk-through montage of