At first glance, the six ceramic tile grids in Tom Humphreys’s exhibition “Tours”—all Untitled, 2014—looked like a return to the sort of 1980s postmodernism that superimposed contradictory styles. Each industrially produced tile was fired twice: first with an earthenware ceramic glaze, at roughly 1,100 degrees Fahrenheit, and again at about 900 degrees, after a ceramic photographic transfer. The initial coat of glaze was applied either with hands or a cloth, sometimes liberally, resulting in complex imperfections such as minute spatters of black metallic globules. Before the second