The featured work, including video, painting, collage, photography, sculpture and embroidery, is brought together to engage in a dialogue about subjects as diverse as war, racism, individuality and intimacy. All of the artists are new to the gallery.

Audrey Chan’s video, Boomerang, is a meditation on the paradox of memorial design in a historical moment characterized by the rapid proliferation of images of war and terror across the Internet. Employing found footage of amateur video, clips from Middle-Eastern news media, documentary film excerpts, first-person text and popular music, the video constructs a space where Aristotelian Poetics, historical spectatorship, political identity construction, the failures of war, and digital media commingle.

The painting Old Blue by Thomas Brouillette – a car in a parking lot at a strip mall – uses his technique of portraying filtered light to invoke a perceptual facsimile of experience that questions whether this is a picture of a non-event or an iconic image.

Like I Love You by Rochelle Feinstein is part of her ongoing series of unapologetic, compellingly present paintings that investigate the space between the social and sensual realms. The work explores the concept of “Light” – basic to the act of seeing – and its metaphoric, natural and artificial characteristics.

Matthew Monteith’s most recent photographs feature the interiors of cars and reflect America’s general desire for insular independence. Untitled, an interior against a landscape, expresses Monteith’s belief that the car enables individuals to experience a place while remaining isolated from it.

A custom-built subwoofer cabinet, Rolling Thunder, by Sheldon Moyer, investigates the relationship between a visual object and an audio experience.

Mark Newport crosses the boundaries of traditional gender roles by using found trading cards of female strippers – a distinctly male obsession – and hand beading them – a traditionally female activity.

G. Bradley Rhodes’ collaged paintings on wood panel and paper are humorous explorations of aspects of his childhood, including his southern upbringing and exposure to racism and the stories of Maurice Sendak.

Jessica Watson’s photographs, Couple and Thighs, directly enter the sensual realm and reflect a desire for intimacy.