Best show at Harbor yet, and a two-person show at that! Henry Chung brings large wall pieces made of stripes of black paper with little holes punched into them at varying intervals to form halftone versions of old photographs. The effect is similar to a photocopy of a photocopy of a photocopy of an old image, an aesthetic that usually appears as grainy evidence in spy and terrorist documentaries or as the starting point for vintage political posters, a la Shepard Fairey or Che T-shirts. But Chung has combined this aesthetic geared toward the notorious to common family snapshots heightening their importance and creating images that feel like memories of relatives whom you know only from birthday cards or photographs of your grandparents when they were unrecognizably young. Chung’s work is paired with Grimyser’s harsh but minimal paper sculptures based on photocopies, which are sporadically aligned on and at times literally flying off the wall. The pieces combine a visual nihilism of gray and black xeroxes with the whimsy and complexity of an image of white mist (?) against a black background and pictures of billowing smoke stacks.