The nature scenes of Mary Iverson are, at their base level, realistic panoramas of real places—Ruby Beach, Yosemite, Monument Valley, and so forth. They could be oils from the 18th or 19th or 20th centuries. But it’s the overlaid grids that set them apart, make them modern. The pictorialism is etched with rigid grid lines—like wires or cables or slice marks that dissect each pretty scene. Within these grids are colorful shipping containers of the sort you see stacked at the Port of Seattle, suspended from those giant cranes, headed from China to Costco and Wal-Mart. There are also old guide book pages and images that could be taken from Sunset magazine over which Iverson also inscribes her gridlines. Each canvas contains both the world as we’d prefer to prefer to depict it and the traces of globalization that shapes the world we live in. Also on view: Picasso etchings and lithographs on the mezzanine; and sci-fi-inspired paintings by Lisa Buchanan. BRIAN MILLER

Tuesdays-Saturdays, 10 a.m.-5:30 p.m. Starts: Oct. 8. Continues through Oct. 30, 2010