The Los Angeles artist’s photographs of his studio treat paintings, drawings, and bits of junk as elements in a great, sprawling assemblage—a slacker’s version of Kurt Schwitters’s Merzbau. There’s nothing accidental about the space’s state of decorative collapse, but it never feels precious. In the largest image, a wooden pole trailing strips of pink fabric leans between a red rubber bucket and a wall half covered in torn white tulle. If other constructions recall the work of Jessica Stockholder or Alan Shields, Gilbert always gives them a context: the studio and its subtle natural light take center stage. Through Oct. 20.