Anthony Lepore’s new work traffics in the simultaneity of past and present, which plays through his work as fabricated seamlessness between the real and the photographic. As such, his photo-objects and object-photos typically utilize illusions and camera “tricks.” He runs his ideas through photography and processing techniques such as multiple or lengthy exposures, rephotography, and montage. The illusions he generates are sometimes witty (cloud-printed fabric wadded to mimic clouds, paper airplanes, brick/ed windows with views of brick walls), sometimes symbolic (favorite handmade ceramic dishes, ladders), and most often both (magic boxes, pennant streamer shadow play). The artist's studio-specific set-ups draw near to audience-of-one performances, sculpture making, process documentation, and stagecraft. -- Eamon Monaghan’s wall sculptures belong in a lineage of underground artwork from the end of the last century. Underground cartoonists like R. Crumb’s heavily stippled environments are predecessors to Eamon’s clay mark-making. Underground animators like Bruce Bickford’s undulating and melting claymation scenes are predecessors to the movement and malleability of Eamon’s knotted vignettes. This wall work might be what underground theorist Manny Farber referred to as termite art, methodically chipping away at the composition in darkness, eating its own boundaries, nothing in its path other than signs of eager, industrious, unkempt activity.