Ruth Marten draws on antique etchings. Literally. The etchings, often of scientific subjects, are likely to be of dubious accuracy. Marten's masterful interventions further propel the imagery toward the fantastic, though where one leaves off and the other begins is not easy to discern. Like a child's game of "telephone," or the Surrealists' "exquisite corpse," the process yields delightful perversity.