“Interfaces and Operating Systems,” the title of this exhibition—a survey of recent work by Michelle Gay, elegantly arranged by curator Marnie Fleming—may at first seem a reference to the digital technology present in most of the pieces. But such a coldly literal interpretation actually misses the point. The subject of a work like timer (swat), 2004, for example, is not computers, per se, but how we modern subjects interface with the world—the cultural systems by means of which we operate. A surprisingly intimate piece, the work features a collage-like digitally animated image of the artist