b'symbols. The carefully composed and executed works offer us an opportunity for slow and close looking, revealing a sense of time embedded in their precise and serial nature.Likewise, Karl Burkheimer is a sculptor who can be understood to be engaging time as a medium as he allows his objects to be reinscribed by other artists and often undoes, recycles, and reuses his works to create new pieces. In his world nothing is permanent. Even as he engages questions of architecture and object, the possibilities of transformation, collabora-tion, reiteration, and change are always at hand. Like Burkheimer, Ben Buswell undermines the heroism of monumentality and the possibility of apprehending something as a singular, fixed subject. Buswell disrupts the legibility of images through physical intervention. In his massive photo-sculpture All at Once (2017), a close-up image of the surface of a landscape is scarred over and over with a repeated gesture that undoes the photograph, marking it with rhythmic scratching. The imagistic record of place becomes instead a physical index of the body engaged in action.Tom Prochaskas works on paper are a record of views, recollections, and visions; they are immediate and intimate. His prints and drawings are a compendium of the everyday com-mitted to paper with the jotted quickness of life as it is lived and the impressionistic outlines of nostalgia and memory. Like Prochaskas drawings, Storm Tharps Cadre (2017) contains a quality of pathos, communicated through dynamic gesture and bodies and visages that make visible sentiment and sensation. For Tharp, seriality yields both juxtaposition and cohesion. While a breadth of gestures is contained in this suite of thirty-six works on paper, ranging from total abstraction to clear figuration, from grinding black lines to washy inks, together they form an expressive, almost linguistic set of images that holds contradiction and grace side-by-side. Tharps large monoprint featuring the oversized scrawling of its title warning of wolves at the door pushes the evocative quality of these works into the sharply visceral, sounding an anxious note attuned to our times.Other artists in this exhibition offer explorations of and interventions into history and the ways we understand our world as a means of inserting the self and ones subjectivity into larger narratives. Blair Saxon-Hills Sapporo series is a suite of large-scale photographs of small collages made from and within the contours of 1960s books that pictured art objects of Europe, Oceania, Asia, and Africa, as well as artists. Her works nod to modernism and its aesthetics, inquiries, and problematics, reimagining its visualities and methodologies to 17'