The rather beguiling title of Josh Mannis’s exhibition “Zeal for the Law” interconnects what might otherwise seem to be a rather disparate body of work. Such an emphatic allusion to authority also invites appraisal of the artist’s drawing, collage, and video work as successful citations of art-historical styles and provocative explorations of genre. His compilation of procedures, which hits all the right contemporary signifiers, emits a distinct whiff of le bon ton; yet, with equal aplomb, Mannis transgresses these very same aesthetic regulations.

For example, The Law, 2011, is a hanging tartan