Frank Zadlo does not always know when his drawings are going to break down, but they always do. He starts out graphing the facts about a film—say, the worldwide gross, etc. of Back to the Future, where he got the title for his show (Doc misunderstands Marty's use of "heavy" because Marty means the adjective in a way that hasn't been invented yet)—using an elaborate system involving lines, circles, and the colors orange, red, and blue. But his system is as temporary and unenduring as the technologies he's referencing: He makes collages by submerging cardboard VHS-tape covers into compositions that reference pixilation as well as old-fashioned Russian graphics and sewing, yielding designs that are at once homey-folksy and faux-futuristy. His pen-and-marker "graph" of the relationship between the movies Alien, Predator, and Alien vs. Predator is a video-game-like maze juxtaposed in and around another maze, made up of layered and connected drawn film reels (that together resemble a mechanical system, with pulleys). Lines drawn along the sides of the "graph" for release date, production budget, opening weekend take, and other details indicate that these mazes might actually lead somewhere meaningful. But the jumble is also plainly hilarious. So much intellection for Alien vs. Predator is reminiscent of the alternative-universe-nerddom of the superfan. Zadlo is sitting somewhere between art's pretensions to higher meaning and money's way of shutting off that pursuit, laughing at himself for trying to figure it out.