Brooklyn-based artist Valerie Hegarty orchestrates quiet returns of the repressed in mixed-media installations that swell forth from the walls and floors of exhibition spaces. Last summer, a to-scale rendition of her childhood bedroom made an appearance on the walls of The Drawing Center. During the course of the exhibition, layers of periwinkle blue and bubblegum pink painted paper were peeled away, revealing earlier and earlier iterations of the room's décor, like rock strata in an archeological diagram. For this show, her New York solo debut, Hegarty constructs a crafty eruption of leaves, branches, and part of a decrepit log cabin that delightfully sullies the gallery's pristine white walls. (Picture what Adriana Varejão might make after reading Henry David Thoreau's Walden.) The installation, comprised of three works, partly literalizes the environmentalist fantasy of nature triumphantly overpowering the built realm. But it is also a reminder that every site has its history, and that what we find at a given place is not what was always there.