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In his first gallery show since the mid-1970s, William Tunberg makes a welcome reappearance with a series of exquisitely crafted wooden boxes/assemblages notable for their visual puns, black humor and ambiguous reverberation of meaning. At first glance the works appear to be glass-sided display cases containing found and made objects in idiosyncratic arrangements and juxtapositions: an example of neo-Dada stripped of its vitality by slick commerciality and a finish fetish bordering on the obsessive.
On closer examination, however, this benign presentation turns out to be a...