Brian Zink creates hard-edged abstractions assembled from mod, jitterbugging patterns of flat Plexiglass tiles. Some diamond and triangle designs feel like details from argyle sweaters. A white square radiates black and white rays like a Japanese rising-sun flag. But mainly Zink picks designs that emphasize the flatness of the surface. Using shiny Plexi tiles, Zink catches the light of the room as well as your reflection. The works bring to mind the ‘50s California hard-edged paintings of Lorser Feitelson or Karl Benjamin, op art, the high gloss of fetish-finish art. It’s not the sort of abstraction in which you dive into paint that’s been whipped up into moody outbursts. It’s about cool, sleek design and staying on the synthetic plastic surface. This literal shallowness is both tantalizing and alienating.