Anders Bergstrom, with care and precision, mimics the colors of brown paper bags found at a New York bodega- the very bags which become crumpled around your 16 oz beer can, or hold bits of candy. Through a variety of printmaking methods, he replicates a pristine bag next to a bag with many stains- conceptualizing a natural occurrence by staging it so very precisely. Each bag has the name of its maker on it, exactly as the Duro bags that are factory born do. This time, it is the artist’s signature which exists on the bag, giving responsibility and ownership for what he makes, folds and puts out into the world. Martha Lewis folds large sheets of paper, highlighting areas of the three dimensional objects, bringing them to specific light and focus. These objects, called ‘Branes, take on both bio-organic form and theoretical dimensional forms. The resilient paper objects do not seek any representational form; rather they are a representation of their handling. Folds, created on purpose, embody the same seemingly random features of a mountainous landscape. The forms are lively, engaging and painted to highlight the choices that both the artist and the paper made when it was turned into a singular topography.Matt Magee creates paintings that enmesh geometric systems aside a painterly aesthetic. The path paintings, Whitepath and Greypath, flatten space and offer us a switchback or a glyph. They are folds only in a primary sense, a line folded back on itself into a smaller space than would normally contain it. Bandwidth takes on the form of a massive grid with shifting gradients, elaborating on the idea of folding light. Hollow Bottle, the only sculpture of Magee’s in the show, embraces a man-made form to accentuate the way in which a functional, industrial form can be repurposed as an object of aesthetic beauty long after its purpose has been fulfilled.Rachel Ostrow creates paintings which are finalized with a singular movement, after a lengthy preparation process. By squeegeeing the surface of a multi-layered oil painting, with one gesture, she re- veals the gem-like layering and color hiding under her signature old master-style browns and blacks. She creates forms which appear to be three dimensional and glowing from a light within, creases showing dimensionality and depth of a gem-like draped form. Ostrow’s folds are active in the making of the work, as she manipulates the squeegee to create skips and breaks in her painting.