Last week was the opening of Seattle artist No Touching Ground's show at Pun(c)tuation, Catch and Release. You may have seen beautiful posters for it around the city, depicting a man in silhouette throwing up his arms in a position of letting go of a bird.

What's in the gallery are paintings, sculptures, and prints: heavily worked and photo-based color portraits of pigeons and the city of Seattle, tiny dioramas of cages marked by tally-scratches, and a giant pigeon wheatpasted directly onto the wall.

Browned or faux-aged at the edges, the portraits feel stagy compared to NTG's more direct street work (the giant wheatpasted pigeon, for instance, is a total charmer). What I found myself drawn to in the gallery was the diorama in the nook behind the desk, a little place where the marks of the bird and the artist seem equal.

The artist actually did go around catching and releasing pigeons—attaching to the foot of each bird a tiny printed message in a language of his own devising. How does this work, and why bother doing it? I'll find out more tomorrow, when I follow him around.