Pottery Barn

David Page's show aggressively positions itself in confrontation with the culture of object display

In Baltimore's art scene, we're accustomed to viewing dainty, craft-inspired artwork in former auto-body shops, looking at delicate paintings in filthy warehouses, and encountering conceptual pieces in needle-strewn alleys. There are few combinations of material/process/context that feel subversive anymore. But David Page's work in The Object is Dead-featuring tools, weapons, and other objects quilted between industrial felt and vinyl, hung like paintings in the sunny parlor of Jordan Faye Contemporary's Park Avenue brownstone-legitimately caught me off guard.

It wouldn't do the work justice to say that the 21 panels, in all their oddly sterile grittiness,...