There are many fantastic things at Baer Ridgway right now, starting with Tucker Nichols's Temporary Storage Overflow Plan Option 3, a huge maze of an architectural cross-section he has created with black tape on the walls of the hallway project space, and then extending downstairs into the bookstore where Amanda Hunt has curated a small show from the collection of Steven Leiber that includes two small images by Bas Jan Ader that almost made me cry. In a separate solo show Rebecca Goldfarb's glossy inkjet images, modified found postcards, and sculptural installations occupy the main floor of the gallery, playfully commenting on perception and imbuing otherwise banal objects with added meaning. In one instance a postcard of a mountain lake gushes a river of colored paper onto the floor of the gallery, while in her Bear Ridge piece pictured here (a clever nod to the gallery name) Goldfarb has attached a string leash to an image of a black bear and extended it through an expanse of negative space until it busts out of the very frame itself. Her titles are an integral part of her work, as in Polar Bear, a seemingly blank square of white digital photographic paper, or in Traveling Through Darkness: Some Sense of the World Turned on When Flaneur and Collector Meet for the Second Time, an arrangement of old flashlights and wax casts of old flashlights carefully lined up inside interconnected poplar shelves. She sets the jokes up, but it's up to you to make your own punch line.