Wayne Atkins focuses his attention on the art gallery and its contents. Working within the particular architecture of the exhibition space, Atkins’ landscapes are more psychological than logical. Hanging on the white walls (which are often marred with the drips, drabs, scuffs, and scrapes that are the traces of making a painting in the studio) are familiar artworks from both past and present that the artist has revised using a large amount of artistic license. For instance, a yellow and ochre painting from Josef Albers’ series Homage to the Square, has been accurately inserted into The Removed Discerning Eye (2006) except for the fact that it’s about 4 times larger than the original. Coming off the surface of the “Albers” are several sticks that rest on the floor but also float incongruously above the floor and wall. Tucked into a corner is a Gober-esque leg with a running shoe on its foot. Atkins’ sophisticated references are slippery and his delineation of space disorienting. What he conjures in each piece could be an idealized or, just as easily, a satirized idea of what an exhibition could be. The works use the site and elements of exhibition, beginning in the artist’s studio, including the tools of installation, and ending in the show, as a means to play with abstraction and representation.