Stabler writes: "Peter Brotzmann’s box-based assemblages use odd metal items and wooden shapes, screen and wire, foam and paint, tape and string. They incompletely suggest miniature landscapes or faces, Cornell-ish curios or whimsical Calder contraptions. His washy sketches, some two-handed quasi-symmetrical drawings of plants, cups and hands, some semi-abstractions on found paper, seem more like mechanical exercises than compositions. Hedwig Eberle’s cryptic scribbles in smeary polychromatic oil-paint blobs could be compared to Jean Dubuffet portraits. But these engaging works by Brotzmann and Eberle are too simple and nonspecific to make comparisons stick; rather, they occupy a nebulous archaeological space, a paleo-post-industrial sublime… which perhaps, for some, makes them aesthetically suspicious."