Pandora, the first installation in Elizabeth Michelman’s recent exhibition, “Notes from Underground,” consists of things one might find forgotten in a basement, unearthed after the passage of years. An oversize steamer trunk made of dark gray-green metal provides an anchor. Propped up against it is a cello, its generous curves contrasting with the trunk’s linearity. A violin, set into an otherwise empty gold frame balanced on the trunk, echoes the cello’s form. The worn bow, horsehair strings in tatters, gives the feeling of having outplayed itself. Mysterious wire and mixed-media spirals spill through Pandora like coiled question marks, raising questions about the present, the transient past, and the empty frame of the future. The shapes of musical instruments found an echo in…see the entire review in the print version of May’s Sculpture magazine.