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Collections: Photographs/Photogram Composites

If you visit the Foundry Gallery’s exhibition of photograph/photogram composites by Ruth Schilling Harwood, you might want to brush up on your Jung: I get the texture games she plays with crumpled Good Humor wrappers and a disembodied gun handle in End of Summer, and the oval-framed, cameraless image of a torn leaf in Mirror, Mirror does suggest a ragged heart shape, but what’s with the happy fish patterns superimposed on the photograph of a classical sculpture in Lost in the Woods of Versailles? Or the strips of hole-punched paper that cover up portions of a garden photograph in St. Cloud Revisited (pictured)? Equally enigmatic is the Foundry’s summer show, “Hot Hot Hot,” which runs simultaneously with Harwood’s. As might be expected from a collection that includes more than two dozen artists, the exhibition is a grab bag, populated heavily by abstractions in oil, acrylic, and watercolor. More eye-catching than most are L. Ashley Wells’ still life of pears, Alice-Marie Gravely’s heavily impastoed Asian seascape, and Nabila Hilmi’s Chagall-meets-Munch Angels Choir Sept. 11. But none of these are nearly as striking as Jay Schlueter’s large oils, which feature Helmut Newton-worthy models striding purposefully through incongruous, animal-filled settings. Might want to brush up on Freud, too. The shows are on view from 11 a.m. to 5 p.m. Wednesday to Saturday and from 1 to 5 p.m. Sunday, to Sunday, July 21, at Foundry Gallery, 9 Hillyer Court NW. Free. (202) 387-0203. (Louis Jacobson)