Locks on a door. Dunkin’ Donuts packaging on a tabletop. Tracks in fresh snow. These are among the quotidian subjects taken up in Dike Blair’s paintings, which inhabit a singular point equidistant from Pop Art, Superrealism and the haunted Americana of Edward Hopper. He also, occasionally, makes sculptures which seem to have somehow become dislodged from his canvasses. A salient detail of this work – a bottle of Windex, realized convincingly but approximately – is that it is only one-third full. Though the object certainly embodies the branded commodity, it also quietly evokes the daily round of household cleaning.