Michelle Carollo’s “In a Split,” on the other hand, doesn’t traffic in subtlety. The piece is ranged along a back wall of the gallery, but draws the eye like a dazzling car wreck. It measures perhaps 18 feet long and 10 feet high at its highest, and functions as both installation and wall hanging, with numerous elements protruding out into the gallery space. (Perhaps that is the boundary the artist is exploring, in line with the show’s theme.) Abstract geometries of aluminum, plastic, metal, and cardboard painted in loud reds, turquoises, and greens combine to form a piece that positively vibrates, variously screaming ’50s diner, Rube Goldberg machine, and children’s play set. The adjoining wall is a stark contrast. Here hang the sophisticated works of Nancy Bruce, who works with varying types of reclaimed paper to create what appear to be paintings. From afar, her pieces have a flat, muted look, but close inspection reveals a rich textural surface. In fact, Bruce’s abstract renderings of cityscapes are among the most winning pieces in the exhibition. Her “9th and Selene,” rendered in grays, ivories, and sand tints, is entirely symmetrical and seemingly austere, composed of small rectangular blocks (windows? doors?) in a larger field. But the surface of the piece has a visible weave with minute frayed edges, sprinkled throughout with a gold sparkle. Tiny details like the orientation of the paper’s stitching and the very slightly recessed surface of the “windows” jump into focus up close, just as the slight differences within a seemingly uniform block of rowhouses are invisible from afar but become apparent under examination.