For those who have been following the work of Marie Watt over the past several years, Blanket Stories: Receiving may come as a surprise. For one thing, her past sculpture and installations have often explored sculptural materials that are physically resistant and even indurate. Her monumental, elegant, bridgelike Pedestrian (2001), originally sited at River Overlook Park near the Steel Bridge in Portland, was made of slate, stone, and structural steel. Another contrasting work—and one with an added layer of irony because of its subject matter—is Watt’s 2002 installation Sleep and Sleeplessness: Blanket/Sieve, in which she crafted a bed pillow and “covering” out of milky alabaster set on the hard gallery floor. Watt’s current body of work, using discarded or secondhand wool blankets, seems at first like a complete reversal of her sculptural media. In fact, the blanket series only underscores the deftness of Watt’s abilities with formal qualities (i.e., materials) and her deep fascination with the quotidian elements of human nature. “I am particularly drawn to human stories and rituals implicit in everyday objects,” Watt has said. Blankets — as objects and as concept — yield a deep vein of possibilities.