Allyson Viera’s fractured, angular columns, studded with not-quite-hammered-in nails and flecks of leftover paper labels, look freshly excavated from a dusty drywall quarry; they feel permanently installed in Lauren Gitlen’s new space (though are only on view there through this Sunday). In a small, skylit side gallery are three mixed-medium panels leaning against the wall and a reliclike bronze octopus and winged phallus, resting on a tall pedestal in the middle of the room.
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