Taking on themes of inherent banality, Adam paints quiet scenes devoid of people: vases, a solitary black lamp, some trash stuck in trees. These repetitions on common occurrences are not trying to trick. They are made in earnest by someone who has taken time to capture small, glossed-over moments. And if you look long enough they start to show their precariousness. They are humming with what could be edginess - hinting at an uncaptured, foreign force. Misha's hazy and rougher cardboard-adorned-figures are not really people. They are unabashedly emotional like us. Rage, desire, pride and sorrow are on bold display. They may be from the present, but its uncertain. At first glance they look European - on a second look they could be from any city. Even though most are painted with a quick touch they seem to be at a stand-still. It's hard to imagine them in a previous state of being, what is being shown is the truth. It feels like they have no choice.