When the ‘process of making’ is the principal focus, the outcome is usually sparse. For almost one year Brooklyn-based artist Jessica Dickinson has been obsessively clawing at, scraping down, and masking up a single 56 1/4 × 52 1/4 inch, plaster-like surface. The only evidence of her fixation are eighteen rubbings that the artist likes to call “remainders” which form a timeline of critical junctures along a journey fraught with personal set-backs, artistic doubts and political calamities. These works on paper are arranged orbit-like at James Fuentes Gallery, together with the lone remaining artwork at its genesis or finale – depending on your view. At James Fuentes though September 17.