Works by Kyle Kogut and Phaan Howng, though, provide a good balance to slow us down. In Howng's drawings, tacked to one wall in a cluster, washes of neon pinks and yellows accentuate grey, woody limbs and branches that also appear bodily. The limbs create structures and body horror composites of flesh and of grinding teeth, of things that grasp at and wrap around each other. In her installations and floor sculptures, Howng uses plaster and sickly fluorescent paint to create small, hellish landscape-like forms. But her installation in Current's front window uses shell-like vessels and stone and anemone shapes that bring to mind poisoned and radioactive waters, and what, say, industry and disaster have done to our basic health and quality of life. But none of that is particularly clear; Howng's work elicits more of an abstracted general harm or toxicity.