Like Gagner, Heather McKenna self-appropriates, treating her own creations as her subjects. Her three photographic prints, collectively titled ‘not what it is but how it is,’ depict hand-modeled, monochromatic prisms and arches, acting like still life objects in an otherwise empty space of the same glowing color, though different in each image: a mint green, a peach pink, and a periwinkle blue. The images don’t come across as documentation: the three-dimensional form becomes the art object when flattened to the printed surface. As the title indicates, “what” the objects are doesn’t matter, but “how” they exist in a displaced dimension. I’ve heard snarky painters say “sculpture is what you back into when you’re looking at a painting” and sculptors say the reverse. With that in mind, there’s something at once satisfying and disorienting about an image of a sculpture - a sensation taken away from the entire show, through unexpected presentation of peripheral references.