As a theme for an artwork, "almost nothing" sounds underwhelming, but multimedia artist Ana Husman's Almost Nothing video (pictured) explores the definitive potential of subtlety. Part of an edgy Croatian art expo curated by Lala Rascic, it presents landscapes with barely moving expanses of waves or grasses, many seen through windows, as a zoned-out voice describes the effects of wind speeds like a wonky meteorologist at a free-verse poetry recital. Based on the way land management on a Dalmatian island caused wind patterns to resemble "a complex feedback loop between interior and exterior spaces," Husman's video conveys an austere yet ethereal beauty imbued with a distinctive sense of place. No less prosaic but more pop-artsy in tone is Jusuf Hadzifejzovic's Property of Emptiness series of framed, empty cigarette packs scrawled with Magic Marker messages. His Making Holes in the Shop of Voids wall sculpture, cobbled from cardboard packing crates incised with primary colored circles, wryly recalls the Slavic history of geometric modernism from Kazimir Malevich to Victor Vasarely. Although reminiscent of Duchamp- inspired conceptual art, his works convey a vaguely visceral tone that makes them pleasingly punchy. That description also applies to the "exquisite corpse" graphical poster poem by Summer Acceptance in the rear gallery.
Segueing between hints of emptiness and fulfillment, Robyn LeRoy-Evans' fabric wall sculptures and photographs explore the sensory dynamics of early motherhood as a dreamlike alternate reality. Her abstract, distinctly feminine and vaguely fleshly fabric wall sculptures often appear as if in a state of suspended, dancelike animation even as their pale rose-, tangerine- and salmon-colored folds hint at the inner mysteries of gestation. The photographs feature related fabric forms punctuated with gestural, choreographic arrangements of her legs, arms or torso in works that suggest an elegant resolution of her ongoing quest to unite her dual passions of mothering and art making.