In each of the four paintings in Josh Reames’s exhibition “BO-DE-GAS,” uniformly distributed idiomatic images floated graphically on raw canvas surfaces. Punctuating each of the intimate gallery’s four walls, the paintings were supplemented with three black, wall-mounted handrails that sported a selection of attitude-declaring bumper stickers. The works are stylistically indebted to the appropriation work of the 1980s, such as the commodity-driven, logo-festooned work of Ashley Bickerton, Matt Mullican, and Peter Nagy, and to the later work of Laura Owens. Yet Reames’s lexicon of found imagery