Victoria Manganiello’s woven works are monumental and monumentally labor-intensive: she hand-spins her thread, makes her own dyes, and weaves massive, varied panels on a loom. They spread over walls and around corners and halve the space of the gallery. They stretch, revealing their hand-sewn seams, and one surrounds the viewer, revealing its backside and edges. Smaller works, tacked to shaped plywood, contrast soft and hard forms.

As an educator & organizer, Victoria often collaborates with students, participants, & other artists, including Amanda Martinez, whose sculptures and drawings often draw their repeated curves from natural forms. They found a 1980s Brother knitting machine, designed to knit patterns of Santa or hearts into sweaters or socks, & hacked it to recreate Amanda’s rippled drawings as knit wall works.

Cora Lautze’s large “ripple” is what you’re not supposed to see with a silkscreen print - so much ink and liquid that the paper itself starts to buckle and chafe, leaving a juicy trace of the artist’s labor & almost obscuring the embossed phrase below. Slogans about labor - nobody wants to work, blessed to be busy, any job is a good job - drawn from WPA posters to instagram hashtags, recur in several of Cora’s works. She spells them out in fonts she created inspired by WPA-era quilting patterns. Quilting the different weights of silk generate uniquely varied prints; the quilted screen and its print become mirror images of tool & product. But is any job a good job? Why do we work all the time? And why are we judged by our productivity? Her site-specific installation recreates an ideal “work from home” setup as touted by the mindfulness app Headspace, hilarious & futile, intermittently blowing up and falling limp, and then starting all over again.