In her second solo at this gallery, Lisa Sigal trades in her site-responsive archi-sculptural vocabulary—which has stood out this year in group shows at Artists’ Space, White Columns, and Clementine Gallery—for a more painterly idiom that focuses on the internal relationships of each construction. It’s tough to call this a conservative move, because her works—made of wooden panels, vellum, sheet rock, masonite, joint compound, cardboard, and other materials, juxtaposed and partially painted over—still explode the traditional frame of painting. (Her forays into gouaches and small works on canvas are competent but not nearly as strong as the larger pieces.) Here, the works are nailed to and propped up against the walls, and the largely abstract fields of solid color, sometimes crossing multiple objects in the bricolage, highlight her material juxtapositions. This show is drawn from life, so to speak, and the acuity of Sigal’s construction-site aesthetic translates the complexities of observed places (with their accidental beauty) into static objects whose intricacies are consistently rewarding.

— Brian Sholis