At 97 feet long, and taking up two entire walls of the gallery's second-floor space, Bartlett's sprawling new plate painting, Song, may be second in monumentality to Rhapsody, her 153-foot-long enamel plate work from 1975-76, but it is a more rigorous, more abstract work, like the enamel plate paintings she made between 1972 and 1974, several of which are included in this show.

There are some vaguely recognizable elements in Song. A waxing and waning moon, perhaps, and a houselike structure come into focus. Now, of course, any Bartlett enamel painting, composed as it is of so many hand-painted dots on silkscreened grids, will seem to be referencing pixels. But what makes Song exciting is its lyrical sense of motion within the confines of those plates and grids, all created with black and tan dots. Bartlett seems to be happier orchestrating many parts moving along the wall, too, than caught within the edges of one stretched canvas.

More of Bartlett's early enamel plate paintings and her preparatory sketches for Rhapsody are on display on the gallery's third floor.

One, two, many

Da Corte transforms everyday objects and materials into his own extravagant artworks. The frosted globe lights in his After Party floor sculpture came from Ikea. They're lit with bulbs of various wattages and colors and attached by white extension cords, and their cartoonish eyes, smiles, and frowns are vinyl decals. His installation The Giving Tree comprises a male mannequin, garment racks, hangers, his own clothes, and some wrapped gift boxes. Da Corte has eight other similarly ambitious works in this show, and they are all completely different, except for his occasional use of glitter and sequins and images of young men who look like male models.

Sloss' film, videos, photographs, painting and sculptures operate from a seemingly opposite aesthetic from Da Corte's, though both artists frequently evoke the 1980s and earlier. Sloss' take is dark, but also darkly humorous at times, as in his 16mm film Missionary, continuous footage of a sculpture of a human head on a stake wearing what appears to be a woman's wig, or Hergian (Real Olde Power Suite), his photographs of Olde English 800 Malt Liquor advertising placards that he placed on a rug and shot at different angles. Looking at the five photographs, you finally notice that the uniformly voluptuous female models in the ads all have the same uniformly malt liquor-colored skin.

Sloss has 10 other pieces here, among them cast-bronze sculptures of cranial fragments with gunshot wounds, a large painting, a neon wall sculpture, two videos, and more photographs.

William Pym, who organized this show, could easily have fashioned two slightly more restrained two-person shows for Da Corte and Sloss from the multitude of diverse works in this one. Say, a Part One followed by a sequel. But probably neither one could muster the over- the-top fun-house atmosphere that this "Love Explosion" does.