The title of Kate Shepherd’s “Fwd: The Telephone Game” reflects her collaborative effort, with an assistant, of sourcing “models” for the 3D SketchUp software she has used for 15 years. Most of the works are flat, shiny enamel panels in crayon hues, incorporating “sketches” that hint at the female figure and an Alvar Aalto chair. The titles of these works are also their shared file name, all revisions included. Shepherd’s formal training is subverted by the software, only to come out stranger and stronger. Sources range from a daddy-longlegs spider to the Barcelona Pavilion in the Venice Biennale and the cracks in the concrete walkways in Central Park. Shepherd explores, to the edge of embarrassment, an intimacy with line.