In Jana Eulers painting practice, the mediums conventional rectangular format is often acknowledged by the figurative imagery within, and frequently with visible discomfort. In Eulers treatment, the rectangular painted image is neither illusionistic window nor impenetrable mirror.
Cast near the entrance of Matthew Marks, unshielded from natural light, one of three digital projections by Trisha Donnelly repeats on a short loop. A tall, narrow rectangle frames an imageand contains its movementvisually rhyming with the upright and perpendicular marble monoliths Donnelly has installed throughout the gallery space.
Steinbachs objects, in their adjacencies and juxtapositions, behave like linguistic signs. Their meanings are both inherent and contingent, organized along the structural grammar of figure and ground constituted by his shelf supports. Presented in succession, each item yields new axes for comparison.