Katherine Gass Stowe's and Alexis Rockman's curatorial take on the Hall Art Foundation's huge collection is sly and enlightening in its choices and placements. One opens the door on Damien Hirst's quartered skeleton, portentously crucified by panes of glass. Opposite, the winking red taillights and re-worded street-signs of Robert Rauschenberg's sheet-metal collage dignify a truck's rear end as metaphor.