Four artists have work on display at Knight Arts Challenge grantee Vox Populi Gallery this month: Leah Beeferman, Guy Ben-Ari, Catharine Maloney and Brie Ruais. The styles in the show are diverse and include photos montages, etched Plexiglas, painting and clay.

The constructions by Beeferman demand attention but are subtle in their own right. In an otherwise empty room, two long, rectangular tables stretch out parallel to one another. At a quick glance, the viewer may find that these tables appear almost empty, but that is only because all of the content is horizontal. The tabletops are fairly flat and checkered with geometric arrangements of cut Plexiglas shapes: triangles, squares and the occasional circle. Reflective, shined surfaces call to mind some type of alien technology or futuristic control panel.

Most interestingly, these arrangements are laser-etched with esoteric patterns. Are they scratches? Is there some order here? Are there messages amidst the engraving? Examining the details of these markings, glitchy electronic drumbeats waver out of speakers and around the room. The beats and metallic clanging is the ideal soundtrack for observing Beeferman’s tabletops; the music is synthetic, meandering and minimal, mirroring the art.

Ruais utilizes clay in exceptional ways. The sculptures are the result of exercises and process in contrast to clay’s traditional, pragmatic uses. Much of the process is performance-based, including methods of spreading out her body-weight in the material or throwing chunks into a corner. Some of the pieces are fluid rivers of wet clay smeared up walls, while others have actually been fired. One large hunk of clay even has realistic hands and a face emerging from within it.

Amusing, yet disconcerting are the best ways to briefly explain Maloney’s photos. Another word that comes directly to mind is awkward (but in a mostly endearing way). The collages in the photographic series “Teleplay” all feature men in oversaturated, glaringly lit images, mostly wearing brightly colored turtlenecks. Their appearances are retro in the vein of some bizarre ’80s children’s show, except that none of them really look comfortable being wherever they are. A few of the pictures show their subjects in descending-height, school-photo-day-like compositions, adding to the mood of clumsy middle school rituals.

Ben-Ari takes the form of painting to a very basic representative level, focusing on thick, dark outlines. The objects he displays are far from realistic, yet the message is still conveyed loud and clear. Here, the disconnect between the word and image is more important than a direct copy of reality. Ben-Ari’s exhibition is sponsored in part by Artis — Contemporary Israeli Art Fund.

As always, Vox delivers a splendid show with a range of media. One of the best aspects to arranging a show such as this is its broad appeal amongst art lovers. With styles as distinct as etched plastic and clay sculptures, there is a lot to choose from. This show will be on display until Jan. 29, with a gallery talk to be announced.

Vox Populi is located at 319 N. 11th St., on the third floor; 215-238-1236.