A chintzy drape and kooky lettering cut from various materials spelling out the backward show title, “Doog vs. Live,” marked the entrance to Amy Mayfield’s absurdly ornamented theater. The exhibition was festooned with craft projects, colloquial decor, and a selection of paintings that appear to exhaust every possible method of applying acrylic paint. Underfoot was a multicolored geometric field, a pattern of triangles painted on Masonite flooring. Houseplants, blobby expanding-foam stalagmites adorned with blooms of push-pins, pheasant feathers tucked behind rheostat switches, and animal cutouts

The old dictum that certain sculptors prefer to work with, rather than on, materials rings true in the case of Ian Pedigo. His efforts fall somewhere between found-object assemblage and three-dimensional collage; he takes the more or less utilitarian stuff of the world—the works in this exhibition, for example, incorporate lampshades, denim, foam insulation board, carpeting, plastic sheets, Homasote, magazine clippings, concrete, fabric, and plastic cups—and combines it so as to coax out poetic visual subtleties. Showing a predilection for planar arrangement, Pedigo builds what look like drawings