In another room, several prints (using sawdust on fine-grit sandpaper, rather than ink on paper) mimic the patterns and forms found in some of the other works in the show, such as the archways, or the patterns in a raked concrete slab (‘Concrete Painting’) that leans against a nearby corner. One print depicts the pile of bricks and rope; another shows straps, hooks, and rings interlocking. While these lack the presence or spectacle of the other pieces, they’re clever in another way, nodding to the art-collecting/consumer impulse. It’d be tough to move that slab of concrete anywhere, or to re-create, somewhere else, the installation of straps and pillars the way it exists in this space, but you can certainly hang a few of these prints up in your home. The imagery comes from the other sculptures and installations, and the prints remind me of looking at documentation of art instead of looking at the actual thing in person. But the medium has power, and here Bouché and Syrell capitalize on these industrial materials to make new representations of reality that feel almost ready-made.