Installation has acquired something of a bad name in the year and a half since the 1993 Whitney Biennial, often conjuring in people's minds an unruly roomful of objects with a lesson to teach. But for some artists, installation continues to provide a spare and exquisite means by which light and form, the fundamentals of visual perception, can be effectively linked to kinetic experiences of space.

Jill Baroff is heir to such artists as Robert Irwin and James Turrell, whose installations offer probing alternatives to the certitudes of the white cube. Her installation at Stark last season consisted of six interventions in the gallery walls ranging from subtle to barely perceptible. Some were flat sections of Sheetrock or foam board, treated with plaster, graphite and wax, discreetly inserted into the walls so all surfaces were flush.

Most of these panels were distinguishable from their host by dark outlines - actually narrow gaps between the inserted sections and the wall; the gaps, with edges enhanced by graphite, looked perplexingly like drawn lines on an intact wall. Other pieces, which involved slots or notches cut into the walls, were entirely absences.

While each of Baroff's six works was a separate entity, their similar proportioning and their unity with the walls demanded that they be seen and thought of in relation to each other and the spaces they inhabited. Opening, a deceptively simple work, looked like a slot in the wall between the front and back rooms of the gallery though in fact Baroff had to build a whole new wall to accomplish it. The opening was not a doorway, being too small to allow passage of a body, although it allowed the passage of sight.

Through Opening one could view another work, Return, a slender strip of foam board, rounded at the bottom, inserted into the back wall of the adjacent room. When one entered that room by a separate passage, one found that from there, Opening looked quite different: it became a window through which bright light could penetrate the back room. Baroff invites a quiet speculation on the propensity of even the simplest form to evoke complex relations.