Presenting two sculptures in two opposite project spaces, Koumoundouros work is formally based on opposites: one room displays a floor sculpture, the other a work wedged underneath the ceiling. The floor work, a bizarre pioneer wagon made from a garden car, covered with bark and a pair of Levis jeans, epitomizes the problems of mobility and the movement toward opportunity. Seized up in paralysis, it is embalmed in layers of white plaster. In the other room, a massive tar covered metal jack jams a crystal chandelier into the ceiling. Held up by the brutal upward force of the steel jack, the chandelier converts into a powerful image of forces pushing and pulling, of violent thrusts and stagnant frustration, both such essentially human endeavors.