Bastardized and truncated forms of language motivate David Douard’s approach to sculpture. The improvised elisions and contractions in vernacular discourse and the inclusiveness of a vague pronoun coursed through communication technologies, bodily and electronic alike, in his exhibition “Bat-Breath. Battery.” The desire to render such phenomena visible was most obviously embodied in six square shadow boxes, which, corresponding in size to a large cutout excised by the artist in a wall connecting two gallery spaces, suggested cross-sections of the building’s hidden electrical interior. Several

Facing off from opposite ends of the gallery, two small wall-mounted sculptures in Bettina Samson’s recent show bookended a wide spectrum of three-dimensional works. At the entrance was the cratered, amorphous, and mottled More Honour’d in the Breach 1, 2014. The informe incarnate, this hole-riddled green-glazed earthenware object was in stark contrast to the minimalist Bauspiel, 2015, directly across the room. Titled after a Bauhaus building-block set, this orderly construction of wooden letterpress blocks resembles a miniature of a David Smith “Cubi,” 1961–65. Arrayed between these two