The exhibition relies on a carefully intentioned interrelation of elements; something in a tablescape by Belanger might appear in a painting by Smith or vice versa, never as a parroting of each other but as a riff upon which meanings compound. In this way, the eye travels between a series of fluid mise-en-scènes, brimming with the pathos of a movie set and the unsettling feeling of having stumbled into an intimate space where something has just transpired, or something soon will. Such is the sense of anticipation, humor, and dread here, as though one were visiting “a strange relative.”