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There is something disconcerting about the quiet art of Marie Navarre. The mostly monochromatic objects and images scrupulously selected and juxtaposed by the artist, often mounted in spare, clean, almost clinical steel frames or housed in unobtrusive boxes, are strangely familiar. While devoid of overt emotionality and visual flashiness, Navarre's constructions, if they can be called that, speak eloquently of the basic nature of human experience, of being beyond the boundaries of the verbal and the visual.