New York Times, 2003, Helen A. Harrison

'Objects of Interest'
This group show takes an unconventional approach to still life, a time-honored genre usually devoted to fruit, flowers and crockery on a table top. Those subjects are in evidence, but not in their familiar guises.

By assembling disparate elements into complex and provocative juxtapositions, Nancy Grimes emphasizes the symbolic. Her most complex canvas, ''Body Parts,'' is an amalgam of studio props, but there are disconcerting intrusions, like a crutch, a baby's pacifier and a disembodied foot that should be a plaster cast but looks more like flesh and blood. The work comments on art as illusion and obsession.

Carmela Kolman reinforces the point in ''Avocado Pears,'' in which the fruit is a vehicle for the study of pictorial form, interactive color and spatial relationships. Her paintings are less still lifes than self-contained abstractions that use nature as a starting point. Betty-Ann Hogan steps back a few paces to allow her bowls of fruit to occupy recognizable spaces, but her emphasis is on the patterns of light and shadow they create.

Using a flat-footed, almost goofy style, Raymond Prucher isolates individual toys on dark, thickly painted backgrounds. The objects are mundane, but there is something strangely affecting about the way they float in limbo. ''Stuffed Dog'' in particular, surrounded by almost invisible graffiti submerged beneath the inky carpet on which it lies, is more disquieting than nostalgic.

Ann Schaumburger takes a more detached view in studies of classical vases that play trompe l'oeil with figure and ground. The decorative motifs on the vases and on the walls behind them alternate, swapping two- and three-dimensionality seemingly at random. They are not so much still lifes as optical illusions.
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