Image-dissolving abstractions certainly demonstrate the push-pull in Rubin’s works, but her ceramic sculptures remain the most striking example of their laden open interpretation. In an ongoing series prominently featured in the exhibition, Rubin uses a variety of objects — funnels, traffic cones — to create conical pieces from slip cast porcelain. Some are adorned with trinkets, others map textures and patterns, a few even have mouths. Smiles, in fact. Yet they all have holes for eyes, and those eyes stare out from a bottomless void.