Hermonie "only" Williams has never allowed the gorgeous subtlety of her sculptural and two-dimensional work to transform a contemporary gallery space until this knockout show. It's seductively easy to view Williams' stark works here—the bundles of charred and sharpened wooden dowels of 'Suttee,' the stacks of charcoal pigmented cement orbs of 'Some More Than Others,' the polycarbonate arch 'After and Before'—and only see the economical way she reduces form and content to supple, futuristic minimalism. Such a convenient read completely misses the intellectual extravagance and emotional potency she pirates away in this show, where many galleries were purposely lit at low to nearly no light. This cave-like atmosphere exquisitely connected her most up-to-the-nanosecond works, like the polished enamel object 'We've All Been There,' with scribblings and markings of early humans. Yes, we've all been there; today we just have better tools.