Is there a limit to the number of fads a single practice can channel? In this bijou, four-piece show, Camerno packs building site machismo, camp Technicolor nostalgia, generational warfare, and a dollop of old queer. 

Such indecision could be dismissed as youthful enthusiasm, but these inconsistencies are premeditated. Ornamental steel shapes hung from a monumental totem revel in laser-cut precision. They’re so far oblivious to the speckles of rust that will one day consume them. A ‘70s pin-up who appears on one canvas is till today unmoved by the decades which separate her from glory.

But the procession of time marked out in another painting is unstoppable. What’s left of the show are stage props that feed adolescent imaginations with false memories of the long-finished party. But even if Camerno’s complaints against the past were legitimate, his bet on the lasting value of his stock illustration tropes makes for poor politics.