Philadelphia sculptor John Souter often sets his works on slickly finished, brightly colored shelves – emphasizing the condition of display, in the manner of postmodern sculptor Haim Steinbach. Yet this framing of his objects in this way, as commodities, is in tension with the seductive and sensual qualities of the objects themselves. This particular work, with a quasi-figural presence, has a sublimely undecidable quality, as is implied by its teasingly esoteric subtitle.