“Confusing signals, the impurity of the signal, gives you verisimilitude,” said Donald Barthelme of juxtaposition in his fiction, which he thought of as collage. “As when you attend a funeral and notice, against your will, that it’s being poorly done.” None of Dash Snow’s art in “Freeze Means Run” confuses or confounds. The signals are clearly drawn: angry or tender, political or familial, appropriated or documented. Snow’s work from 2000–2009—his teenage polaroids are being considered with his “mature” work in multiple mediums—falls squarely on an axis familiar to anyone who’s been