With gestural swipes of perfectly calibrated colors and tones, Matt Bollinger’s subjects face their viewer with earnest directness, creating an exchange in either empathy or implication in the failing social equation of laissez-faire economics, as if to question, “which side are you on, boys, which side are you on?”

My first reaction to Moore's hanging sculptures was that these had come from the set of an episode of Star Trek: The Next Generation — pieces from a distant city, representative artifacts of a utopian aesthetic, playful and dignified at the same time — however, they made me sad that I don't live in this world, but hopeful that maybe someday somebody will.

With jewel-studded decay and pustuled baloney, Garner brilliantly demonstrates that beauty is never irrevocably tied to benevolence (violence has its splendor too, and tragedy its comedic twin) and that through the embrace of the abject, The Other can be twisted in-side-out, both symbolically and literally, unsettling our sense of self and the socio-historic ground it is rested on.