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Sergio Gonzalez-Tornero has created a haunting image of an extraordinary fish as it floats in the depths of the sea. The fish appears to glow from within, with its red eyes, pink mouth, and yellow- and white-tipped appendages.

Sarah Canright’s painting Shadow can be read as three layers of precise patterning in ghostlike tones of blue, pink, purple, white, and green. The tightly composed background features interlocking geometric prongs that fit together like puzzle pieces, a chain-link fence, or woven textile.

Radiating from a white center, four concentric squares of bright color glow from the surface of a large square sheet of white paper. Yellow, red, and blue puddles merge in hues of purple and orange.

Janet Fish presents one of these moments in her pastel Sasha with a Bowl of Candy. An adolescent girl hunches over a wooden surface, perhaps a table or a desk, her forearms spread across the surface from nearly one side of the composition to the other, her chin resting on the back of overlapped hands.

Is the foot wearing a cowboy boot or a dress boot? Does the foot belong to a woman or man? Does the hand belong to a teenager or adult? In whose possession was the gun moments before? Which person is being threatened? Would an innocent observer be glad the foot blocked the hand, or not? What is going on here?

Irish Spring Here, created in 1980, is one of many heavily textured, geometric collage paintings that Sam Gilliam began creating in the mid 1970s. By this time Gilliam had already received positive critical reception for his draped and suspended paintings.

Carousel, a colorful, sixty-seven-foot-long, draped canvas, hangs suspended from the ceiling. Sam Gilliam was consulted about the arrangement of Carousel; however, he does not have strict rules for the way his draped paintings are to be installed. Instead, he prefers the work to be recomposed each time it is exhibited.