Chase Hall has developed an expansive vocabulary for documenting the ever-shifting line between personal and generational narratives. His alchemical approach to his materials, which include the coffee-based pigments and cotton supports that have characterized his work of the last few years, both reflects and critiques the ways in which systemic forces of oppression have divided people, territory, and the physical substance of the planet itself. As its title suggests, each painting in Halfrican poses a series of questions about how identities are constituted, often along lines that are not as clear as they might seem. This show includes paintings in a wide variety of scales, from a twenty-four-foot painting—one of the largest and most ambitious works of the artist’s career—to more intimate portraits in the style of yearbook headshots. It finds him exploring stories of freedom and friendship, as well as archetypal cycles of human development. Group portraits of young men wearing overalls and other work gear, for instance, point to the virtues of collaboration as well as an interest in creating revisionist takes on the American mythos. In many of these paintings, Hall delicately traces the line between self-reliance and participation in supportive community. He identifies how systems throughout the human and natural worlds balance competing needs for self-determination and unity, and reflects on ways in which these themes contribute to the ever-unfolding history of the United States. ____ Ruby Neri takes the full range of human interaction as her subject, producing works in which she depicts relationships as alternately mythological, mundane, ecstatic, inscrutable, hilarious, and tragic. Staircase provides a window onto the expansive nature of her project, which includes many different kinds of making that overlap and inform one another. A large-scale bronze sculpture—one of the most complex and intricate forms the artist has made to date—provides a dramatic center of gravity, setting a tone of experimentation not only in terms of physical form and material, but also in terms of drawing and expressive gesture. These qualities are mirrored in the large paintings that find Neri revisiting this important facet of her project for the first time in several years, as well as the pastels and ceramics in which the tactility of color is a primary concern.