In separate contexts, the participating artists in “Fond Illusions” have been recognized for their command of unconventional materials that bridge the fundamental qualities of 2D and 3D artworks. The results are abstract and cohesive, physical and psychological, sculptural and, occasionally, otherworldly. Fond Illusions supplants familiar conceptual pathways that impress vision to the body. To catalog what these impressions might be, consider a summary of recent work: how photo-montage has often adopted both mnemonic and sculptural qualities in Leslie Hewitt; or how entangled missives became crystalline curios in Sophie Calle; how ancient fossils denoted futuristic colloquial unintelligible to the uninitiated in Gala Poras-Kim; how infra-thin traces of human touch have become data points on networks of well-worn objects in Tatiana Trouvé; how mobile constellations gathered from the commodity dusts of everyday life formed surreal cloudbursts in Cornelia Parker; how Bharti Kher inflected traditional cultures of India with the conceptual idioms of nonwestern avant-garde; how the digital multiplication of self-design created ethereal city-states populated by visible yet imperceptible denizens in B. Ingrid Olson; how enclosures have become defamiliarized forms of domestic architecture in Alicja Kwade; and, finally, how found objects enact consumer rituals in the work of Kathryn Andrews. Instead of familiar formulas for making contemporary art, we are left with the impression of inner workings belonging to each artist’s mind. Consider, then, as you walk through the galleries, how a chosen medium corresponds to the flat world of images and intersecting corporeal realms that rely only partially upon visual presence.