Zarou’s debut at Robert Henry is flush with his wonderful geometric pencil drawings over silver spray-painted paper that were up last fall at Camel Arts. The drawings are the flagship of Zarou’s alternative abstract realty, where grids resembling survivalist quilts from a past apocalypse are assembled from scrapes of red scantrons and scientific graphs overlaid with gray diamond-cut pieces of paper. His pencil drawings on silver spray-paint of jumbled, herky-jerky lines that occasionally bump into each other to create shapes that look like the mapping of electricity bouncing over graphite. Which, Nova assures me, is the wave of the future of nanotechnology. The drawing and collages are paired with Zarou’s rather homely sculptures of what I assume are hand-made models of the genome, creating a convincing body of work from what could best be described as the mind of a post-apocalyptic high-school science teacher.