A gallery assistant stands guard at the edge of a steep trapdoor at Matthew Marks Gallery. This is America, after all; the land of 1-800-lawyer. The artist is, of course, Robert Gober. The trap door hails from Gober’s exhibition at the Venice Biennale in 2001 and riffs on the murky symbolism of a church cellar door and the mystification of the unknown. Long fascinated with doors, windows, and legs, Gober presents a series of beautifully detailed torso drawings which reveal complicated inner lives locked in by prison windows. The real draw, however, is the room full of Joseph Cornell-style boxed tableaus. Within simple white wooden boxes await arrangements that range from a plaster heart on Victorian-type wallpaper; three small robin-egg blue eggs on a diaper framed by silkscreened paper of cherries and hydrangeas; the force cup of a plunger on cherry print; a stick of butter on a rolling landscape; or a sculptured ear with a dried leaf on flowery background. Trying to make sense of it is futile. Best to take it in without reservation and analysis – just like the artist intended. At Matthew Marks through April 7.