If Munro, Maltz and Young reflexively dissect artistic mediums and the means of display by which we apprehend them, Soo Shin and Liz McCarthy’s exhibition “The Height Below” at Heaven Gallery bring two practices into close assemblage. At times kinky, prayerful (and occasionally oddly canine), the two artists have rendered an exhibition predominately in shades of black, echoing formal vocabularies from one another’s practices. The titular artwork by Shin is a makeshift gallows of black leather leashes. Elsewhere, McCarthy’s “Calendars (Altars)” is comprised of charcoal-painted wooden hoops with burned-down black candles piled along their bottom curves. Shin’s two untitled oil canvases are striped in unfussy renderings of black bars (horizontal and radial, respectively) that pick up on the stacked and looped compositions in McCarthy’s installations elsewhere in the space. Heaven Gallery has rarely looked as good as it does inhabited by this installation of dark objects, offset by a white work by each artist hung close enough together to read as a diptych. If other monochromes disassemble the mediums in which they are crafted, Shin and McCarthy call into question the discrete character of an artwork’s author. - See more at: art.newcity.com