Detroit-born Michael E. Smith’s familiarity with the Susanne Hilberry Gallery (he has been featured in six shows at the venue) no doubt contributed to the sophisticated visual harmony between a series of his near-monochromatic rectilinear artworks and the architecture of this former sales office, built in 1954. In a slender installation that demonstrated the artist’s affinity for simple geometry, a series of thirteen sculptures—largely composed of weathered or worn domestic objects and building materials, but also fossils and bones—and paintings hewn from fabric, vinyl, plastic, and