Even as it evokes choice, “ON|OFF” is an ambiguous show title, alluding to the selective nature of communication. In the context of China’s huge online culture, it designates the decision to switch virtual private network (VPN) software “on,” granting the user full access to the Web, or “off,” thus accepting the censorship of the so-called Great Firewall of China.

Photography’s dual functions—to re-present what the eye sees and also to suggest what it cannot—merge in Joyce Campbell’s quietly forceful recent work. Born in New Zealand and based in Auckland and Los Angeles, Campbell showed two series here, side by side.

Rafael Lozano-Hemmer’s technologically advanced installations are unusual in their ability to arouse curiosity and to quickly transport viewers into their field of engagement. For this exhibition—the U.S. debut of the piece Frequency and Volume, Relational Architecture 9 (2003)—the artist made it possible for visitors to physically interact with radio frequencies.

A respected abstract painter and teacher at the Oregon College of Art and Craft, Michelle Ross is a 2012 winner of the coveted Hallie Ford Fellowship in the Visual Arts. In this exhibition of four works (all 2012), she fulfilled what she began gingerly to essay at the Portland Art Museum’s 2011 biennial of Northwest art—where one of her untitled panels unexpectedly trailed a length of pale blue tulle. Fabric now rules Ross’s practice, with Redress, for example, repeating the conjunction of painted panel and translucent veil.

When Darren Almond emerged in the late 1990s at the tail end of the YBA generation, his empirical approach ran counter to the constellations of found-object signifiers his elder contemporaries’ works were based upon.