Faces, and not just a perceived lack thereof, are central to the work of Jackie Milad, Benoit Paille, and Laura Payne, the other artists in the show. Payne's 2012 series "Before/After" combines images of women pre- and post-cosmetic surgery into stereoscopic paintings. The technique is typically used to create a realistic 3-D image by offsetting an image of an object in cyan and magenta. Here, it juxtaposes two images of the same woman made unrecognizable. The resulting paintings disconcertingly don't add up to solid visages. The subjects shift between their "natural" states and how they chose to alter their appearances. The effect is a reminder of perception/representation's mutability and its implication for facial recognition-the foundation of identifying others. Jackie Milad's "Portraits Project" humorously indexes facial expressions through line drawings of strangers that are delicately executed but feel informal. Presented as a kind of pseudo-scientific illustration, the drawings chart the awkward stares, looks of surprise, and other nonverbal aspects of interpersonal communication. To further objectify her subjects, they are all drawn bald and stripped of most indicators of gender or ethnicity. With only their personalities to distinguish one from another, the portraits have a cartoonish, almost alien quality. Hung between the drawings are less successful photographs from the same series. In the photos, backlit people wearing bald caps mimic facial expressions from the chart. Aesthetically, they aren't great, but I mostly dislike them for functioning in opposition to the drawings. The tiny drawn portraits are strangely anonymous but feel intimate due to scale and the artist's hand. When looking at the photos, I found myself wondering about the individuals-how old they are, how they met the artist, etc. . . . and paying less attention to whatever goofy face they were making. Three hanging sets of bald caps and hand mirrors invite viewers to interact with the piece, a far more effective strategy for tying Milad's whimsical drawings to the real world. At the opening reception, a crowd of people were miming facial expressions and taking pictures of each other posing as the emotive, hairless studies that populate Milad's work.