Ever since Robert Rauschenberg challenged the sovereignty of the second dimension in painting by introducing foreign objects into the equation, painters have been itching to break out of the restrictive picture plane. The painters and photographers assembled in Off the Edge set their sites on another repressive kind of boundary: the rectilinear frame. From Paul Critchley's subject-referential shaped canvases and Warner Friedman's trompe l'oeil architectural views to photographer Jeremy Kidd's reconfigured, paradoxical, frozen time-lapse landscapes, these artists refuse (pardon the pun) to be boxed in.