Two local photographers make very different use of the medium in new work on view. Up in the front gallery, David Hartt puts desultory, cluttered, unkempt Americana into very large frames. Office cubicles appear abruptly abandoned (layoffs at WaMu?), urban chickens roam empty streets, and ATVs park in unfinished garages. There are traces of human handiwork, but where are the workers? The locales of Hartt’s “Of Great Societies” are on the fringes of the new economy—retraining centers for blue-collar laborers, metropolitan farms, and job centers. All have an unsettling air of vacancy to them. In back, Arthur S. Aubry shows us another side of the industrial economy: its cast-iron and steel machinery, its heavy, rusting old discards, its elegant utilitarian forms. Again, there are no machinists to tend these engines of commerce. But the metal flanges and flywheels are cropped too closely for us to feel human absence. They’re all geometry and might, freshly painted or newly out-of-service, sitting idle until the factor restarts. Or until they’re sold for scrap. (Gallery open Tues.-Sat.) BRIAN MILLER

Feb. 4-21, 10:30 a.m., 2009