Meredith James is like a latter day Alice in Wonderland documenting what she sees in her journey down and through a contemporary rabbit hole. Her videos, installations, and sculptures play with scale and trompe l’oeil to create optical illusions that are as disruptive as they are funny. In “Day Shift”, a short video, she plays a security guard who, having just left work, crawls into the backseat of her SUV and reemerges as a miniature figure in the building’s security monitor. In Ames Landscape, an installation, two figures stand in a glade. A large mountain reaches skyward in the distance. The space is configured so that, though the space is logically consistent, one figure stands much taller than the other. In Hallway, another installation, a door opens onto stairs that lead down to the basement. The stairs, of course, go nowhere because the space is flat. The fact that the illusion is a dead ringer for the space’s actual stairs that lead to a real basement is not even remotely coincidental.