Three pieces of wood line up to the bottom of Ree Morton’s pale dotted painting on unstretched canvas. There’s a quite satisfaction to this alignment, a feeling repeated through out the two level exhibition. Better still, is Morton’s consistent ability to surprise and engage the viewer with seemingly banal stuff; A series of vertical lines on a paper take on a surprisingly voluminous quality, that would flatten in the hands of a lesser artist, and a painted landscape diptych interrupted by flat colored squares recalls and easily outdoes the work of her colleague Richard Tuttle. People have noticed: this exhibition comes on the heels of Morton’s solo show, organized by Curator Joao Ribas, at the Drawing Center last year. The work deserves more attention yet.